National museum of korea vol 32 en

• curator’s talk Stone Guardian from the Tomb of King Muryeong

• rnm exhibition. 1 Buddhist Art in Asia: India, Southeast Asia, Central Asia and Tibet • rnm exhibition. 2 King Sejong the Great in Cheongju

publis hed by the nmk summer 2015

VOL .32 SUMMER 2015

ISSN: 2005-1123

• special feature Rustic Beauty: the Essence of Life in Literati Painting

• feature exhibition Polish Art: An Enduring Spirit

september 25 – no vember 15, 2015 speci al exhibitio n galler y To mark the 10th anniversary of our relocation to the Yongsan site, the National Museum of Korea has organized the special exhibition Masterpieces of Early Buddhist Sculpture, 100BCE–700CE, featuring exhibition 220 works from twenty-five museums and institutions at home and abroad.

Buddhism and its images have been a powerful element in Asia, facilitating exchange between cultures. The exhibition casts new light on the history of Buddhist sculpture and their role in binding heterogeneous traditions together. The creation of the religion and the fi st anthropomorphic images of the Buddha are introduced in the first section of the exhibition through powerful statues made in the Gandhara and Mathura regions of India.

The second section covers the spread of Buddhism into China, which had a very different linguistic, religious, and philosophical background to that of India, and subsequent Sinicization of the religion. The third section sheds light on Buddhist statues from the Korean Peninsula and Japan. In the final section, the major pensive bodhisattva statues from India, China, Korea and Japan are presented to invite comparative contemplation. The exhibition will be a unique opportunity to appreciate the finest examples of Buddhist sculpture.

National Museum of Korea

VOL.32

100BCE–700CE

N AT I O N A L M U S E U M O F KO R E A | Q UA R T E R LY M AG A Z I N E

MASTERPIECES OF EARLY BUDDHIST SCULPTURE,

quarterly magazine

National Museum of Korea

summer 2015

D I R E C T O R’ S M E S S AG E

Amid the summer foliage, the National Museum of Korea boasts grounds covered in leafy shade and growing more beautiful by the day. People are coming to look around the Museum and spend time in Yongsan Family Park, and we have been busy at work to accommodate our visitors.

Recently, the NMK has opened a new exhibition as part of our world culture series to enjoy some special and theme exhibits that bring together our research results on specific themes. Polish Art: An Enduring Spirit, a regularly-scheduled exhibition, represents the first major event in Korea featuring the history and art of Poland. Diverse items are on display, ranging from the Middle Ages to the 20th century. The special exhibition Devout Patrons of Buddhist Art examines roles of patrons of art works played in Buddhist culture as well as the ultimate goals they pursued. The theme exhibit New Scientific Revelations about the Gold Crown from Seobongchong Tomb shows how this famous piece was made and analyzes its metallic content.

KOREAN HERITAGE

FROM THE GALLERY

THE LATEST

special feature Rustic Beauty: the Essence of Life in Literati Painting 02

feature exhibition Polish Art: An Enduring Spirit 16

behind the exhibit Conservation of Metal Relics 34

visitor Discovering Tumultuous History and Art 22

education Youth Program “Explore the Museum” 36

special exhibition Devout Patrons of Buddhist Art 24

news Activity / Exhibition 38

rnm exhibition. 1 Buddhist Art in Asia: India, Southeast Asia, Central Asia and Tibet 28

new & hidden space Renewal Room: China in the Asian Art 40

curator’s talk Stone Guardian from the Tomb of King Muryeong 10 zoom in Gilt-bronze Buddha 14

The Korean Heritage section in the current issue focuses on items in our collection that best represent “rustic beauty.” The unpretentious literati paintings from the Joseon Dynasty and undecorated Stone Guardian from the tomb of King Muryeong are quintessential examples of magnificence in plain form. Meanwhile King Sejong the Great in Cheongju special exhibition has opened at the Cheongju National Museum and Buddhist Art in Asia is now showing at the Gwangju National Museum. The Summer edition of the National Museum of Korea magazine also brings you updates on our educational and cultural events.

rnm exhibition. 2 King Sejong the Great in Cheongju 32

The NMK does much more than put relics on display. We are a cultural space that offers educational programs and outdoor performances for all age groups. These programs are a wonderful way to have fun and enjoy the summer heat.

Kim Youngna Director-General The National Museums of Korea Summer 2015 Cover of Current Issue Gilt-bronze Buddha Unified Silla Period, Late 8th to 9th century H. 30.0 cm Purchased in 2014 koo 9708

Publisher National Museum of Korea 137 Seobinggo-ro, Yongsan-gu, Seoul, 140-797, Korea Tel: (82 2) 2077–9573 Fax: (82 2) 2077–9258 E-mail: polagu47@korea.kr Editorial Direction Design Team of the NMK Design and Production Ahn Graphics Inc., Editorial Team Translation / Revision Timothy V. Atkinson / Cho Yoonjung Lee Mijin / Hwang Chiyoung

National Museum of Korea, a quarterly magazine, abides by the principles set forth by the Korean Committee for Ethics in Book and Magazine Publication. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, without prior permission in writing from the publisher.

Printed in Korea Copyright © 2015 National Museum of Korea.

All rights reserved. ISSN: 2005–1123

Note to Readers The related information of image is given in the following order: title, period or produced year, material, dimensions and management number.

Items from all other institutions are classified by their collection names.

National Museum of Korea

summer 2015

D I R E C T O R’ S M E S S AG E

Amid the summer foliage, the National Museum of Korea boasts grounds covered in leafy shade and growing more beautiful by the day. People are coming to look around the Museum and spend time in Yongsan Family Park, and we have been busy at work to accommodate our visitors.

Recently, the NMK has opened a new exhibition as part of our world culture series to enjoy some special and theme exhibits that bring together our research results on specific themes. Polish Art: An Enduring Spirit, a regularly-scheduled exhibition, represents the first major event in Korea featuring the history and art of Poland. Diverse items are on display, ranging from the Middle Ages to the 20th century. The special exhibition Devout Patrons of Buddhist Art examines roles of patrons of art works played in Buddhist culture as well as the ultimate goals they pursued. The theme exhibit New Scientific Revelations about the Gold Crown from Seobongchong Tomb shows how this famous piece was made and analyzes its metallic content.

KOREAN HERITAGE

FROM THE GALLERY

THE LATEST

special feature Rustic Beauty: the Essence of Life in Literati Painting 02

feature exhibition Polish Art: An Enduring Spirit 16

behind the exhibit Conservation of Metal Relics 34

visitor Discovering Tumultuous History and Art 22

education Youth Program “Explore the Museum” 36

special exhibition Devout Patrons of Buddhist Art 24

news Activity / Exhibition 38

rnm exhibition. 1 Buddhist Art in Asia: India, Southeast Asia, Central Asia and Tibet 28

new & hidden space Renewal Room: China in the Asian Art 40

curator’s talk Stone Guardian from the Tomb of King Muryeong 10 zoom in Gilt-bronze Buddha 14

The Korean Heritage section in the current issue focuses on items in our collection that best represent “rustic beauty.” The unpretentious literati paintings from the Joseon Dynasty and undecorated Stone Guardian from the tomb of King Muryeong are quintessential examples of magnificence in plain form. Meanwhile King Sejong the Great in Cheongju special exhibition has opened at the Cheongju National Museum and Buddhist Art in Asia is now showing at the Gwangju National Museum. The Summer edition of the National Museum of Korea magazine also brings you updates on our educational and cultural events.

rnm exhibition. 2 King Sejong the Great in Cheongju 32

The NMK does much more than put relics on display. We are a cultural space that offers educational programs and outdoor performances for all age groups. These programs are a wonderful way to have fun and enjoy the summer heat.

Kim Youngna Director-General The National Museums of Korea Summer 2015 Cover of Current Issue Gilt-bronze Buddha Unified Silla Period, Late 8th to 9th century H. 30.0 cm Purchased in 2014 koo 9708

Publisher National Museum of Korea 137 Seobinggo-ro, Yongsan-gu, Seoul, 140-797, Korea Tel: (82 2) 2077–9573 Fax: (82 2) 2077–9258 E-mail: polagu47@korea.kr Editorial Direction Design Team of the NMK Design and Production Ahn Graphics Inc., Editorial Team Translation / Revision Timothy V. Atkinson / Cho Yoonjung Lee Mijin / Hwang Chiyoung

National Museum of Korea, a quarterly magazine, abides by the principles set forth by the Korean Committee for Ethics in Book and Magazine Publication. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, without prior permission in writing from the publisher.

Printed in Korea Copyright © 2015 National Museum of Korea.

All rights reserved. ISSN: 2005–1123

Note to Readers The related information of image is given in the following order: title, period or produced year, material, dimensions and management number.

Items from all other institutions are classified by their collection names.

02

special feature

“Rustic Beauty” is the theme for this issue, describing an important aspect of Korean traditional beauty. The primary focus here is on literati painting, and the art works introduced on these pages offer an opportunity to feel the plain quality and unpretentiousness at the heart of the literary painting genre. The literati painter’s primary emphasis is on saui, 寫意 portraying the meaning; that is, they sought to show the internal aspects of the subject or present subjective feeling, rather than on sophisticated painting techniques and detailed objectivity.

Rustic Beauty: the Essence of Life in Literati Painting by lee sukyung, associate curator of the cheongju national museum

nmk 2015 summer | korean heritage

K

ang Sehwang, 姜世晃 1713–1791 nickname Pyoam, was an 18th century literati painter recognized as a master of the three perfections (poetry, calligraphy and painting) in his own time. Previously, I posted on Navercast an article on Kang Sehwang’s Album of Journey to Songdo, believed to have been painted in 1757, when he was in his mid-40s, and I still remember the readers’ comments. Some sang high praises of his work (has a simple and unadorned look) while others were blunt in their assessment (looks like the work of a preschooler).

Both views show a proper understanding of Kang’s work. Throughout his life he strove to produce literati paintings that were pure without traces of vulgarity.

03

The painting on the eleventh double-page of his album commemorating his trip to Songdo, 松都 former name for Gaeseong, 開城 shows some men relaxing in the water flowing down a wide flat rock called Taejongdae Terrace 太宗臺 on the north side of Mt. Seonggeosan 聖居山 [Fig. 1]. The painting techniques Kang used to present the scene are a far cry from technical refinement. He either colored the rocks in bright ink or did them partly in a slightly darker shade and then draws a rough outline around them. To portray leafy trees, he first applied a green pigment for a background on top of which the branches and trunks were drawn in clumps [Fig. 2]. He rendered the scholars’ soaking their tired feet in the cool water by subtly coloring the men’s exposed legs and surrounding rocks an opaque white, using rough brushstrokes [Fig. 3]. The painting lacks tidiness, and at first glance the work may even appear to have been

Fig 1.

Taejongdae Terrace (detail) 11th Double Leaf of Album of Journey to Songdo

By Kang Sehwang Joseon, ca. 1757 Ink and light color on paper 32.9 × 53.5 cm don 2191, bequest of Lee Hong-kun, 1981

02

special feature

“Rustic Beauty” is the theme for this issue, describing an important aspect of Korean traditional beauty. The primary focus here is on literati painting, and the art works introduced on these pages offer an opportunity to feel the plain quality and unpretentiousness at the heart of the literary painting genre. The literati painter’s primary emphasis is on saui, 寫意 portraying the meaning; that is, they sought to show the internal aspects of the subject or present subjective feeling, rather than on sophisticated painting techniques and detailed objectivity.

Rustic Beauty: the Essence of Life in Literati Painting by lee sukyung, associate curator of the cheongju national museum

nmk 2015 summer | korean heritage

K

ang Sehwang, 姜世晃 1713–1791 nickname Pyoam, was an 18th century literati painter recognized as a master of the three perfections (poetry, calligraphy and painting) in his own time. Previously, I posted on Navercast an article on Kang Sehwang’s Album of Journey to Songdo, believed to have been painted in 1757, when he was in his mid-40s, and I still remember the readers’ comments. Some sang high praises of his work (has a simple and unadorned look) while others were blunt in their assessment (looks like the work of a preschooler).

Both views show a proper understanding of Kang’s work. Throughout his life he strove to produce literati paintings that were pure without traces of vulgarity.

03

The painting on the eleventh double-page of his album commemorating his trip to Songdo, 松都 former name for Gaeseong, 開城 shows some men relaxing in the water flowing down a wide flat rock called Taejongdae Terrace 太宗臺 on the north side of Mt. Seonggeosan 聖居山 [Fig. 1]. The painting techniques Kang used to present the scene are a far cry from technical refinement. He either colored the rocks in bright ink or did them partly in a slightly darker shade and then draws a rough outline around them. To portray leafy trees, he first applied a green pigment for a background on top of which the branches and trunks were drawn in clumps [Fig. 2]. He rendered the scholars’ soaking their tired feet in the cool water by subtly coloring the men’s exposed legs and surrounding rocks an opaque white, using rough brushstrokes [Fig. 3]. The painting lacks tidiness, and at first glance the work may even appear to have been

Fig 1.

Taejongdae Terrace (detail) 11th Double Leaf of Album of Journey to Songdo

By Kang Sehwang Joseon, ca. 1757 Ink and light color on paper 32.9 × 53.5 cm don 2191, bequest of Lee Hong-kun, 1981

04

special feature

Fig 2.

Detail of Fig1

produced by an untrained amateur. However, this work is rated among the best paintings from the Joseon period. The rocks are not a uniform color; instead, Kang Sehwang varied paint thickness to add a sense of depth. Kang was taken with new cultural influences coming into Joseon and he attempted to adopt certain Western painting techniques in his own work. On the surface, this painting appears to be unsophisticated, but a closer look reveals the thinking of an 18th century literatus who was dissatisfied with the old ways and was ready to try something new.

People like Kang Sehwang produced literati paintings 文人畫 as a pastime, not a profession, as a way to express their state of mind.

Painting techniques were mixed in this genre, and the subjects were not portrayed in fine detail. Rather, the goal was to utilize the forces of classical learning, personal cultivation and practiced calligraphy skills to elicit the essence of the subject matter. The great Song Dynasty poet, scholar and calligrapher Su Shi, 蘇軾 1037–1101 courtesy name Dongpo, 東坡 wrote that to paint bamboo, one must first “get the bamboo in the breast.” That is to say, the artist must have a complete mental picture of the subject matter beforehand and then produce the work spontaneously and quickly just when the inspiration strikes. The literatus may have honed his brushwork while writing on philosophy and ethics, but he would emphasize artlessness as a way to avoid a display of painting technique mastery.

Jeong Suyeong 鄭遂榮 1743–1831 is a Joseon literati painter who sought to produce somewhat unrefined yet faithful representations of his first-hand experiences and impressions rather than master the technical aspects of form depiction. Such an approach is fully evident in his Album of the Sea and Mountains, which records

nmk 2015 summer | korean heritage

Fig 3.

Detail of Fig1

Fig 4.

Mt. Geumgangsan Viewed from Cheonildae Terrace 9-11th double-leaves of the Album of the Sea and Mountains

By Jeong Suyeong Joseon, 1799 Ink and light color on paper Each 37.2 × 61.9 cm don 2192-13, bequest of Lee Hong-kun, 1981

05

Fig 5.

Detail of Fig 4, part of the 10th double-leaf of the Album of the Sea and Mountains

scenes he saw while traveling around Mt. Geumgangsan in the fall of 1797. While in the mountains, he made sketches with willow charcoal, and produced the album of paintings two years later, between the third and eighth months of 1799.

Jeong Suyeong came from a long line of geographers and applied his powers of observation to create a unique series of paintings of Mt. Geumgangsan. His Mt. Geumgangsan Viewed from Cheonildae Terrace [Fig. 4] is of particular interest. The expansive landscape of Inner Geumgang extends over three double-leaves of his album and depicts clustered peaks as seen from Cheonildae Terrace and Heolseongnu Pavilion, two excellent vantage points overlooking Inner Geumgang from afar. Cheonildae Terrace 天一 臺 is an elevation east of Jeongyangsa Temple in the Inner Geumgang area, while Heolseongnu Pavilion 歇惺樓 is the temple look-

out [Fig. 5]. The inscription on the 9th double-leaf says that after Jeong Suyeong arrived here he observed Inner Geumgang’s changing scenery with the passage of time by ascending and descending both the terrace and the pavilion repeatedly in the morning, at noon, in the afternoon, at sundown and in the early morning under a moonlit sky. In the foreground of the middle double-leaf of the Mt. Geumgangsan Viewed from Cheonildae Terrace stands a grove of tall conifers, and the pale green area in front of the trees is Cheonildae Terrace.

The tradition of painting Mt. Geumgansan from this point can be traced back to at least mid-Joseon, and Jeong Seon 鄭歚 1676–1759 produced many such works in the “true-view” landscape painting style during the early 18th century. One of Jeong Seon’s paintings, Jeongyangsa Temple, was done from Cheonildae Terrace and

04

special feature

Fig 2.

Detail of Fig1

produced by an untrained amateur. However, this work is rated among the best paintings from the Joseon period. The rocks are not a uniform color; instead, Kang Sehwang varied paint thickness to add a sense of depth. Kang was taken with new cultural influences coming into Joseon and he attempted to adopt certain Western painting techniques in his own work. On the surface, this painting appears to be unsophisticated, but a closer look reveals the thinking of an 18th century literatus who was dissatisfied with the old ways and was ready to try something new.

People like Kang Sehwang produced literati paintings 文人畫 as a pastime, not a profession, as a way to express their state of mind.

Painting techniques were mixed in this genre, and the subjects were not portrayed in fine detail. Rather, the goal was to utilize the forces of classical learning, personal cultivation and practiced calligraphy skills to elicit the essence of the subject matter. The great Song Dynasty poet, scholar and calligrapher Su Shi, 蘇軾 1037–1101 courtesy name Dongpo, 東坡 wrote that to paint bamboo, one must first “get the bamboo in the breast.” That is to say, the artist must have a complete mental picture of the subject matter beforehand and then produce the work spontaneously and quickly just when the inspiration strikes. The literatus may have honed his brushwork while writing on philosophy and ethics, but he would emphasize artlessness as a way to avoid a display of painting technique mastery.

Jeong Suyeong 鄭遂榮 1743–1831 is a Joseon literati painter who sought to produce somewhat unrefined yet faithful representations of his first-hand experiences and impressions rather than master the technical aspects of form depiction. Such an approach is fully evident in his Album of the Sea and Mountains, which records

nmk 2015 summer | korean heritage

Fig 3.

Detail of Fig1

Fig 4.

Mt. Geumgangsan Viewed from Cheonildae Terrace 9-11th double-leaves of the Album of the Sea and Mountains

By Jeong Suyeong Joseon, 1799 Ink and light color on paper Each 37.2 × 61.9 cm don 2192-13, bequest of Lee Hong-kun, 1981

05

Fig 5.

Detail of Fig 4, part of the 10th double-leaf of the Album of the Sea and Mountains

scenes he saw while traveling around Mt. Geumgangsan in the fall of 1797. While in the mountains, he made sketches with willow charcoal, and produced the album of paintings two years later, between the third and eighth months of 1799.

Jeong Suyeong came from a long line of geographers and applied his powers of observation to create a unique series of paintings of Mt. Geumgangsan. His Mt. Geumgangsan Viewed from Cheonildae Terrace [Fig. 4] is of particular interest. The expansive landscape of Inner Geumgang extends over three double-leaves of his album and depicts clustered peaks as seen from Cheonildae Terrace and Heolseongnu Pavilion, two excellent vantage points overlooking Inner Geumgang from afar. Cheonildae Terrace 天一 臺 is an elevation east of Jeongyangsa Temple in the Inner Geumgang area, while Heolseongnu Pavilion 歇惺樓 is the temple look-

out [Fig. 5]. The inscription on the 9th double-leaf says that after Jeong Suyeong arrived here he observed Inner Geumgang’s changing scenery with the passage of time by ascending and descending both the terrace and the pavilion repeatedly in the morning, at noon, in the afternoon, at sundown and in the early morning under a moonlit sky. In the foreground of the middle double-leaf of the Mt. Geumgangsan Viewed from Cheonildae Terrace stands a grove of tall conifers, and the pale green area in front of the trees is Cheonildae Terrace.

The tradition of painting Mt. Geumgansan from this point can be traced back to at least mid-Joseon, and Jeong Seon 鄭歚 1676–1759 produced many such works in the “true-view” landscape painting style during the early 18th century. One of Jeong Seon’s paintings, Jeongyangsa Temple, was done from Cheonildae Terrace and

06

special feature

Heolseongnu Pavilion [Fig 6]. The perspective looks down on the scene from above, in a bird’s-eye view. Cheonildae Terrace is in the foreground, and on it stands a pair of scholars who are taking in the scenery. Behind and to the left is Heolseongnu Pavilion on the temple grounds, while Geumgangdae Terrace can be seen further behind and up toward the right. A foggy patch acts as a border for the background, in which are depicted Birobong, 毘盧峯 the highest summit in all of Mt. Geumgangsan, along with numerous other peaks. In this way, Jeong Seon arranged his painting subjects along diagonal lines, creating the sense of spatial depth. There is structure to his spatial layout, but Jeong Seon was less concerned about re-creating the scene as it is in real life than he was about selecting certain subjects and rearranging them to dramatic effect.

By contrast, Jeong Suyeong clustered the connected mountain peaks tightly together, just as they would appear from Cheonildae Terrace. He did not bother to create a sense of distance or depth.

He lined up the subjects as they appeared in his eyes along a hori-

nmk 2015 summer | korean heritage

zontal line, and this was perhaps the most appropriate way to record the scene as it actually appeared. The fact that the painting is crammed full of mountain peaks indicates the artist’s intention to put everything down that he actually witnessed from Cheonildae Terrace. His purpose was not to organize the scene for beautiful effect but rather to re-create the scene that he experienced.

On the right side of the 9th double-leaf, Jeong Suyeong detailed his impressions when he looked out upon the many peaks from Heolseongru Pavilion at Jeongyeangsa Temple: “My eyes got dizzy and my mind was in a daze. I leaned for a moment on the pavilion railing, calmed my thoughts and looked out…”

Jeong Seon, in his masterpiece General View of Mt. Geumgangsan, did not detail specific aspects of each peak, whereas Jeong Suyeong captured well the most conspicuous features of the major summits, to include Wolchulbong, 月出峰 Ilchulbong, 日出峰 Sohyangnobong, 小 香爐峰 Daehyangnobong, 大香爐峰 Hyeolmangbong, 穴望峰 and Jeongh-

07

Fig 7.

Detail of Fig 4, part of the 11th double-leaf of the Album of the Sea and Mountains

Fig 6.

Jeongyangsa Temple (detail)

By Jeong Seon Joseon, 18th century Ink and light color on paper 22.1 × 61.0 cm

wakdae Terrace, 靑鶴臺 and he even indicated their individual names, allowing the viewer of the painting to surmise the general location of each peak [Fig 7].

Jeong Suyeong wanted to document in art his personal travel experience; he understood the subject in his own way and visualized the space accordingly. Although the compositional style of Jeong Seon was still in vogue, he decided on the most suitable approach for transferring his own memories of Mt. Geumgangsan onto paper. He created unique paintings of Mt. Geumgangsan through straightforward composition without technical artifice and through unpolished brush lines far from the proficiency and flowing brush strokes acquired through professional training.

He did not consider painting to be a profession; therefore, he did not produce slick images with flowing brush lines. Yet Jeong did manage to convey his intended message as a man of letters. He did not paint Mt. Geumgangsan scenes for patrons, so he neither had reason to pay attention to the preferences of a client and nor had the need to maximize the aesthetic elements. He wanted to record the journeyed with his friend Yeo Chunyeong 呂春永 1734–1812 in the way he saw fit. Therefore, the paintings in his Album of the Sea and Mountains differed from those of Mt. Geumgangsan produced by Kim Hongdo 金弘道 1745–? or Kim Eunghwan 金應煥 1742–1789 under royal orders. Jeong Suyeong’s works were also unlike those of Jeong Seon, who was influenced by the style of the Andong Kim clan.

Jeong Suyeong’s skills were unpolished, but he strove to express the impressions he felt when he beheld scenes of Mt. Geumgang-

Fig 8.

Snow-Spewing Pond 13th double-leaf of the Album of the Sea and Mountains

By Jeong Suyeong Ink and light color on paper 37.2 × 30.9 cm don 2192-13, bequest of Lee Hong-kun, 1981

06

special feature

Heolseongnu Pavilion [Fig 6]. The perspective looks down on the scene from above, in a bird’s-eye view. Cheonildae Terrace is in the foreground, and on it stands a pair of scholars who are taking in the scenery. Behind and to the left is Heolseongnu Pavilion on the temple grounds, while Geumgangdae Terrace can be seen further behind and up toward the right. A foggy patch acts as a border for the background, in which are depicted Birobong, 毘盧峯 the highest summit in all of Mt. Geumgangsan, along with numerous other peaks. In this way, Jeong Seon arranged his painting subjects along diagonal lines, creating the sense of spatial depth. There is structure to his spatial layout, but Jeong Seon was less concerned about re-creating the scene as it is in real life than he was about selecting certain subjects and rearranging them to dramatic effect.

By contrast, Jeong Suyeong clustered the connected mountain peaks tightly together, just as they would appear from Cheonildae Terrace. He did not bother to create a sense of distance or depth.

He lined up the subjects as they appeared in his eyes along a hori-

nmk 2015 summer | korean heritage

zontal line, and this was perhaps the most appropriate way to record the scene as it actually appeared. The fact that the painting is crammed full of mountain peaks indicates the artist’s intention to put everything down that he actually witnessed from Cheonildae Terrace. His purpose was not to organize the scene for beautiful effect but rather to re-create the scene that he experienced.

On the right side of the 9th double-leaf, Jeong Suyeong detailed his impressions when he looked out upon the many peaks from Heolseongru Pavilion at Jeongyeangsa Temple: “My eyes got dizzy and my mind was in a daze. I leaned for a moment on the pavilion railing, calmed my thoughts and looked out…”

Jeong Seon, in his masterpiece General View of Mt. Geumgangsan, did not detail specific aspects of each peak, whereas Jeong Suyeong captured well the most conspicuous features of the major summits, to include Wolchulbong, 月出峰 Ilchulbong, 日出峰 Sohyangnobong, 小 香爐峰 Daehyangnobong, 大香爐峰 Hyeolmangbong, 穴望峰 and Jeongh-

07

Fig 7.

Detail of Fig 4, part of the 11th double-leaf of the Album of the Sea and Mountains

Fig 6.

Jeongyangsa Temple (detail)

By Jeong Seon Joseon, 18th century Ink and light color on paper 22.1 × 61.0 cm

wakdae Terrace, 靑鶴臺 and he even indicated their individual names, allowing the viewer of the painting to surmise the general location of each peak [Fig 7].

Jeong Suyeong wanted to document in art his personal travel experience; he understood the subject in his own way and visualized the space accordingly. Although the compositional style of Jeong Seon was still in vogue, he decided on the most suitable approach for transferring his own memories of Mt. Geumgangsan onto paper. He created unique paintings of Mt. Geumgangsan through straightforward composition without technical artifice and through unpolished brush lines far from the proficiency and flowing brush strokes acquired through professional training.

He did not consider painting to be a profession; therefore, he did not produce slick images with flowing brush lines. Yet Jeong did manage to convey his intended message as a man of letters. He did not paint Mt. Geumgangsan scenes for patrons, so he neither had reason to pay attention to the preferences of a client and nor had the need to maximize the aesthetic elements. He wanted to record the journeyed with his friend Yeo Chunyeong 呂春永 1734–1812 in the way he saw fit. Therefore, the paintings in his Album of the Sea and Mountains differed from those of Mt. Geumgangsan produced by Kim Hongdo 金弘道 1745–? or Kim Eunghwan 金應煥 1742–1789 under royal orders. Jeong Suyeong’s works were also unlike those of Jeong Seon, who was influenced by the style of the Andong Kim clan.

Jeong Suyeong’s skills were unpolished, but he strove to express the impressions he felt when he beheld scenes of Mt. Geumgang-

Fig 8.

Snow-Spewing Pond 13th double-leaf of the Album of the Sea and Mountains

By Jeong Suyeong Ink and light color on paper 37.2 × 30.9 cm don 2192-13, bequest of Lee Hong-kun, 1981

08

special feature

nmk 2015 summer | korean heritage

Kim Jeonghui’s calligraphy exudes the feeling of inscriptions on hard media such as metal or stone. The first four words in the expression read “Residual characters roughly etched in stone,” 殘書頑石 with wan, 頑 “obstinate, stubborn, dull” here meaning rough or unrefined. The words for residual and rough as well as those for characters and stone for contrasting pairs that bolster the powerful effect on the reader.

The work shows how the spirit of learning 書卷氣 can be applied. Originally the phrase refers to calligraphy as a means to express the energy built up in one’s heart after reading extensively. Here the spirit is manifested in the way a seasoned calligrapher shapes his characters.

The Joseon literati mostly prized frugality externally as they strove to build up their knowledge internally by remaining close to books and writing. Exemplifying this way of life is the reading desk used by Song Siyeol, 宋時烈 1607–1689 nickname Uam, while he was rusticated in Hwayangdong [Fig. 10]. This furniture piece, pre-

Fig 9.

Calligraphy in Clerical Script

By Kim Jeonghui Joseon, mid-19th century Ink on paper 31.8 × 137.8 cm Sohn Chang Kun

san. Snow-Spewing Pond, 噴雪潭 on the 13th double-leaf of the Album of the Sea and Mountains, is a painting of one of the eight waterfalls in Mt. Geumgangsan [Fig. 8]. When we look upon the painting, we do not know which elements to paint or how to present them. A stream crashes down a gorge below Bodeokgul, 普德窟 Cave of Universal Virtue, in Inner Geumgang and cascades over a wide rock to form this pond. He was unable to reproduce the sense of distance between the rock formations in the foreground and background, but he did portray, with clumsy and unrefined brush lines, the sense of speed in the rushing water as it plummets down the gorge.

He quickly sketched long horizontal lines on top of the flat rock to convey rapid movement in a simple way. Technically, his work was unrefined, but his primary focus as a literati painter was not on external form but rather on capturing the essence of the subject or express the painter’s subjective feeling about it. The Southern Song painter Han Zhuo 韓拙 act. ca. 1095–1123 defined saui 寫意 as “drawing simply but bringing out the meaning fully.” This was considered the ultimate goal of literati painting. The aesthetic qualities of saui are lightness and ease; that is the clear and refreshing feeling one gets when viewing the work.

Kim Jeonghui, 金正喜 1786–1856 nickname Chusa, took “literary fragrance” 文字香 and “the spirit of learning” 書卷氣 from painting and calligraphy as his highest moral standards. Kim was well known for his discerning eye, and he maintained correspondence with leading Chinese writers and painters, frequently sending them rubbings of Korea’s finest calligraphic works. Also, Kim gave Weng Fanggang, 翁方綱 1733–1818 a prominent scholar, poet and critic, one of Yi Insang’s, 李麟祥 1710–1760 nickname Neunghogwan, paintings as

a gift. This demonstrated Kim’s great admiration for Yi, who excelled at transcending the physical form to reveal the soul of the subject matter. If Kim Jeonghui understood Yi Insang’s calligraphy and painting so well, then Kim was praising highly Yi’s ability to understand what “literary energy” 文字氣 was all about. Kim Jeonghui sent a letter to his son, Kim Sangu, 金商佑 1817–1884 assessing Yi Insang’s abilities most favorably: “The secret to brushing calligraphy in the clerical style 隸書 is to have, first of all, literary fragrance and the spirit of learning in your heart and then to proceed with the clerical style of calligraphy as your basis. In recent times, people such as Jo Yunhyeong 曺允亨 1725– 1799 and Yun Hanji 兪漢芝 b. 1760 have completely mastered the clerical style, but regrettably they lack power in their characters. On the other hand, Yi Insang’s penmanship and painting both exude literary fragrance. Study them and try to imitate them and you will be able to grasp what it is to have spirit of literary.”

Kim Jeonghui, who sought to bring together the brushwork of writing and painting, created a masterpiece of calligraphy. He wrote the phrase using the clerical style of script as a basis but mixing in seal script character shapes along with the brush movements for writing in the semi-cursive and cursive styles. The line is written horizontally (right to left), with an uncommon solemnity and vitality [Fig. 9]. The brush tip is applied with such force it almost pokes through the paper, creating the feeling of uncontrolled heaviness. The unpretentious and rough use of the brush natural results in the flying white 飛白 effect, whereby quick brush movements leave white unpainted areas within the brush stroke. The effect recalls inscriptions on a stone monument.

Fig 10.

Reading Desk of Song Siyeol Joseon, before 17th century Wood 22.5 × 37.5 × 28.0 cm Head family of Song Siyeol

09

served by Song’s descendants, is unusual because the top is uneven and the surface unvarnished to a gloss. Rather, it appears to be crude and rustic, and the sunken spots on top are most salient. The intended purpose is difficult to say, but here is a guess. Normally books were put on top of a flat reading desk so the reader had to bow his head to pour over them. Eventually he would have to lean against the wall to rest his back, and the book would have to be tilted. The hollowed out part of this desk allowed the book to be set at an angle so that the reader could maintain a comfortable position from the start. Perhaps this innovation was conceived by a scholar who was around books constantly.

The desk seems rough but upon closer examination its practicality becomes apparent. And like this desk, the literati paintings were not executed in an overtly neat and tidy manner, but the brushwork revealed the clear-sighted mind of the artist.

08

special feature

nmk 2015 summer | korean heritage

Kim Jeonghui’s calligraphy exudes the feeling of inscriptions on hard media such as metal or stone. The first four words in the expression read “Residual characters roughly etched in stone,” 殘書頑石 with wan, 頑 “obstinate, stubborn, dull” here meaning rough or unrefined. The words for residual and rough as well as those for characters and stone for contrasting pairs that bolster the powerful effect on the reader.

The work shows how the spirit of learning 書卷氣 can be applied. Originally the phrase refers to calligraphy as a means to express the energy built up in one’s heart after reading extensively. Here the spirit is manifested in the way a seasoned calligrapher shapes his characters.

The Joseon literati mostly prized frugality externally as they strove to build up their knowledge internally by remaining close to books and writing. Exemplifying this way of life is the reading desk used by Song Siyeol, 宋時烈 1607–1689 nickname Uam, while he was rusticated in Hwayangdong [Fig. 10]. This furniture piece, pre-

Fig 9.

Calligraphy in Clerical Script

By Kim Jeonghui Joseon, mid-19th century Ink on paper 31.8 × 137.8 cm Sohn Chang Kun

san. Snow-Spewing Pond, 噴雪潭 on the 13th double-leaf of the Album of the Sea and Mountains, is a painting of one of the eight waterfalls in Mt. Geumgangsan [Fig. 8]. When we look upon the painting, we do not know which elements to paint or how to present them. A stream crashes down a gorge below Bodeokgul, 普德窟 Cave of Universal Virtue, in Inner Geumgang and cascades over a wide rock to form this pond. He was unable to reproduce the sense of distance between the rock formations in the foreground and background, but he did portray, with clumsy and unrefined brush lines, the sense of speed in the rushing water as it plummets down the gorge.

He quickly sketched long horizontal lines on top of the flat rock to convey rapid movement in a simple way. Technically, his work was unrefined, but his primary focus as a literati painter was not on external form but rather on capturing the essence of the subject or express the painter’s subjective feeling about it. The Southern Song painter Han Zhuo 韓拙 act. ca. 1095–1123 defined saui 寫意 as “drawing simply but bringing out the meaning fully.” This was considered the ultimate goal of literati painting. The aesthetic qualities of saui are lightness and ease; that is the clear and refreshing feeling one gets when viewing the work.

Kim Jeonghui, 金正喜 1786–1856 nickname Chusa, took “literary fragrance” 文字香 and “the spirit of learning” 書卷氣 from painting and calligraphy as his highest moral standards. Kim was well known for his discerning eye, and he maintained correspondence with leading Chinese writers and painters, frequently sending them rubbings of Korea’s finest calligraphic works. Also, Kim gave Weng Fanggang, 翁方綱 1733–1818 a prominent scholar, poet and critic, one of Yi Insang’s, 李麟祥 1710–1760 nickname Neunghogwan, paintings as

a gift. This demonstrated Kim’s great admiration for Yi, who excelled at transcending the physical form to reveal the soul of the subject matter. If Kim Jeonghui understood Yi Insang’s calligraphy and painting so well, then Kim was praising highly Yi’s ability to understand what “literary energy” 文字氣 was all about. Kim Jeonghui sent a letter to his son, Kim Sangu, 金商佑 1817–1884 assessing Yi Insang’s abilities most favorably: “The secret to brushing calligraphy in the clerical style 隸書 is to have, first of all, literary fragrance and the spirit of learning in your heart and then to proceed with the clerical style of calligraphy as your basis. In recent times, people such as Jo Yunhyeong 曺允亨 1725– 1799 and Yun Hanji 兪漢芝 b. 1760 have completely mastered the clerical style, but regrettably they lack power in their characters. On the other hand, Yi Insang’s penmanship and painting both exude literary fragrance. Study them and try to imitate them and you will be able to grasp what it is to have spirit of literary.”

Kim Jeonghui, who sought to bring together the brushwork of writing and painting, created a masterpiece of calligraphy. He wrote the phrase using the clerical style of script as a basis but mixing in seal script character shapes along with the brush movements for writing in the semi-cursive and cursive styles. The line is written horizontally (right to left), with an uncommon solemnity and vitality [Fig. 9]. The brush tip is applied with such force it almost pokes through the paper, creating the feeling of uncontrolled heaviness. The unpretentious and rough use of the brush natural results in the flying white 飛白 effect, whereby quick brush movements leave white unpainted areas within the brush stroke. The effect recalls inscriptions on a stone monument.

Fig 10.

Reading Desk of Song Siyeol Joseon, before 17th century Wood 22.5 × 37.5 × 28.0 cm Head family of Song Siyeol

09

served by Song’s descendants, is unusual because the top is uneven and the surface unvarnished to a gloss. Rather, it appears to be crude and rustic, and the sunken spots on top are most salient. The intended purpose is difficult to say, but here is a guess. Normally books were put on top of a flat reading desk so the reader had to bow his head to pour over them. Eventually he would have to lean against the wall to rest his back, and the book would have to be tilted. The hollowed out part of this desk allowed the book to be set at an angle so that the reader could maintain a comfortable position from the start. Perhaps this innovation was conceived by a scholar who was around books constantly.

The desk seems rough but upon closer examination its practicality becomes apparent. And like this desk, the literati paintings were not executed in an overtly neat and tidy manner, but the brushwork revealed the clear-sighted mind of the artist.

10

curator ’ s talk

In this column we take a look at “rustic beauty,” the keyword for this issue, through the unsophisticated but artless beauty of the Stone Guardian from the Tomb of King Muryeong.

Stone Guardian from the Tomb of King Muryeong by shin youngho, curator of the archaeology and history department

E

xpressions commonly used to describe Korean cultural artifacts over the years include natural beauty, beauty of emptiness, beauty of moderation, and coarseness. The dictionary definition of coarseness is “lacking in delicacy or refinement,” or in other words “rusticity,” and hence is innately negative in connotation. Believing it to be more appropriate to use positive words to describe our cultural heritage, at times I found it unpleasant to see the word coarseness used. On the other hand, I couldn’t help wondering why coarseness had become such a keyword in describing Korean cultural artifacts through the spoken words and writings of our leading scholars. And then in one of the exhibition halls at the Gongju National Museum, I came across the stone animal sculpture excavated from the Tomb of King Muryeong. It was this encounter with the sculpture, considered the acme of works exemplifying coarseness, that finally enabled me to come to terms with a word I had found hard to accept before and understand why it was a keyword for description of Korea’s cultural heritage.

To gain a proper perception of the sculpture, it is necessary to first look at basic information about the tomb in which it was discovered as well as the situation of the Baekje Kingdom during the reign of King Muryeong. The Tomb of King Muryeong was discovered by chance on July 5, 1971. It is one of a group of tombs of various sizes, some with stone chambers and others with brick chambers, located on the southern hills of Songsan-ri, Gongju.

One summer, when humidity had damaged the bricks and murals inside Tomb No. 6, a brick-chamber tomb like the Tomb of King Muryeong, repair work was carried out on the northern side of the mound. In the course of repairs, some bricks different to the existing ones were found. Further digging uncovered the Tomb of King Muryeong. At the time of discovery, the memorial stone inside the tomb revealed the identity of the tomb’s occupant, and although 1,500 years had passed the tomb had not been damaged by grave robbers or other causes. This meant the tomb was discovered in its original form at the time of its construction. It was an epochal archaeological discovery that threw the whole nation into a flurry.

But the ensuing excavation was carried out in a hurried manner and many things that should have been recorded in detail were overlooked. To this day the excavation stands as one of Korea’s worst excavation projects ever. Notwithstanding the faults, the excavation yielded some astounding results. Discovered in the tomb were more than 3,000 artifacts of more than 190 kinds including epitaphs, the stone animal guardian, wooden coffins, gold crown ornaments, sword with round pommel, and gold earrings, each and every artifact embodying the spirit of the Baekje culture. Most of the relics were designated National Treasures in recognition of their incomparable historic and artistic value.

The time of the tomb’s construction corresponds with Baekje’s Ungjin era, that is, when Ungjin (today’s Gongju) was the capital.

Baekje, having been defeated in war with Goguryeo, hurriedly re-

nmk 2015 summer | korean heritage

11

Stone Guardian from the Tomb of King Muryeong Baekje, 6th century H. 30.0 cm, L. 47.0 cm, W. 22.0 cm Excavated from the Royal Tombs in Songsan-ri, Gongju National Treasure No. 162 gongju 619

10

curator ’ s talk

In this column we take a look at “rustic beauty,” the keyword for this issue, through the unsophisticated but artless beauty of the Stone Guardian from the Tomb of King Muryeong.

Stone Guardian from the Tomb of King Muryeong by shin youngho, curator of the archaeology and history department

E

xpressions commonly used to describe Korean cultural artifacts over the years include natural beauty, beauty of emptiness, beauty of moderation, and coarseness. The dictionary definition of coarseness is “lacking in delicacy or refinement,” or in other words “rusticity,” and hence is innately negative in connotation. Believing it to be more appropriate to use positive words to describe our cultural heritage, at times I found it unpleasant to see the word coarseness used. On the other hand, I couldn’t help wondering why coarseness had become such a keyword in describing Korean cultural artifacts through the spoken words and writings of our leading scholars. And then in one of the exhibition halls at the Gongju National Museum, I came across the stone animal sculpture excavated from the Tomb of King Muryeong. It was this encounter with the sculpture, considered the acme of works exemplifying coarseness, that finally enabled me to come to terms with a word I had found hard to accept before and understand why it was a keyword for description of Korea’s cultural heritage.

To gain a proper perception of the sculpture, it is necessary to first look at basic information about the tomb in which it was discovered as well as the situation of the Baekje Kingdom during the reign of King Muryeong. The Tomb of King Muryeong was discovered by chance on July 5, 1971. It is one of a group of tombs of various sizes, some with stone chambers and others with brick chambers, located on the southern hills of Songsan-ri, Gongju.

One summer, when humidity had damaged the bricks and murals inside Tomb No. 6, a brick-chamber tomb like the Tomb of King Muryeong, repair work was carried out on the northern side of the mound. In the course of repairs, some bricks different to the existing ones were found. Further digging uncovered the Tomb of King Muryeong. At the time of discovery, the memorial stone inside the tomb revealed the identity of the tomb’s occupant, and although 1,500 years had passed the tomb had not been damaged by grave robbers or other causes. This meant the tomb was discovered in its original form at the time of its construction. It was an epochal archaeological discovery that threw the whole nation into a flurry.

But the ensuing excavation was carried out in a hurried manner and many things that should have been recorded in detail were overlooked. To this day the excavation stands as one of Korea’s worst excavation projects ever. Notwithstanding the faults, the excavation yielded some astounding results. Discovered in the tomb were more than 3,000 artifacts of more than 190 kinds including epitaphs, the stone animal guardian, wooden coffins, gold crown ornaments, sword with round pommel, and gold earrings, each and every artifact embodying the spirit of the Baekje culture. Most of the relics were designated National Treasures in recognition of their incomparable historic and artistic value.

The time of the tomb’s construction corresponds with Baekje’s Ungjin era, that is, when Ungjin (today’s Gongju) was the capital.

Baekje, having been defeated in war with Goguryeo, hurriedly re-

nmk 2015 summer | korean heritage

11

Stone Guardian from the Tomb of King Muryeong Baekje, 6th century H. 30.0 cm, L. 47.0 cm, W. 22.0 cm Excavated from the Royal Tombs in Songsan-ri, Gongju National Treasure No. 162 gongju 619

12

curator ’ s talk

located the capital from Hanseong. In a time of greatly weakened national power, Baekje began to thrive again under the reign of King Muryeong. 501–523 Through active exchange with Japan and the Southern Dynasties of China, Baekje fought to regain its sovereign power. These historical facts are corroborated by the treasures from King Muryeong’s tomb.

To take a look at the stone animal figure in detail, as previously mentioned the sculpture was placed at the entrance to the tomb facing outwards. It is a sturdy figure made of tuff and stands 30cm high with total body length of 47cm and width of 22cm. In appearance, it has big bulging eyes, and while the nose itself is thick and blunt the nose ridge is high. The thick lips are slightly parted and are painted a reddish color like a coat of lipstick. The ears are rounded but pointed upwards and on top of the head are horns made of metal. As for the body, there are four stripes raised like protuberances on the back. At the shoulders and hind legs on either side is a mane pattern which seems suggestive of wings. In the middle of the heavy rump is a short tail, also carved in relief, and beneath the tail the anus is also marked. The legs are very short and sturdy. An important point to note about the legs is that the left hind leg was broken on purpose and the figure buried in the

Front of the Stone Guardian

nmk 2015 summer | korean heritage

tomb in that state. Though the exact reason is unknown, it is believed the broken leg is related to the burial customs of that time.

As per the description above, the overall appearance and shape of the sculpture are very much like those of a pig. But on the other hand, certain features such as the horn, the raised stripes and the mane make it hard to see it as a pig. The only thing for certain is that it is not a real animal of this world.

To determine the identity of the animal, it is necessary to trace its origin. According to related research on the stone animal sculpture, the formal name of the figure is jinmyosu, which means “animal tomb guardian.” It is placed inside the tomb to protect the dead by preventing any evil spirits from entering. That is, it is indeed a guardian of the tomb. The custom of burying animal tomb guardians is believed to have originated in the Han Dynasty 206BCE– 220CE of China. The stone animal found inside the tomb of King Muryeong is considered to reflect exchange between Korea’s Baekje Kingdom and the Liang Dynasty of the Southern Dynasties in China. Indeed the depiction of wing-like designs on the body, burial with a broken leg, and placement at the center of the entrance are points of similarity between the Baekje sculpture and the animal tomb guardian found buried at the center of the entrance to the

13

Inside of the Tomb of King Muryeong

Back of the Stone Guardian

tomb of Gongan Tomb, burial place of Emperor He 488–502 (Xiao Baorong) last emperor of the Qi of the Southern Dynasties.

As explained above, the origins of the stone animal sculpture from the Tomb of King Muryeong can be found in China. However, the Baekje sculpture is clearly different to Chinese examples in external appearance for on first sight the Chinese animal tomb guardians look strong and harsh. Though the somewhat grotesque appearance makes its Chinese origin and influence undeniable, after a slower, closer inspection the Korean sentiment becomes apparent through the coarse yet friendly feel of the animal. Because

of these characteristics the stone animal sculpture exemplifies the coarseness found in Korean cultural artifacts. To manifest its function, the sculpture borrows external motives for manufacture, but the finished work is completely transformed to have Korean sentiment and feeling. This can be keenly felt through the stone animal figure from the Tomb of King Muryeong.

12

curator ’ s talk

located the capital from Hanseong. In a time of greatly weakened national power, Baekje began to thrive again under the reign of King Muryeong. 501–523 Through active exchange with Japan and the Southern Dynasties of China, Baekje fought to regain its sovereign power. These historical facts are corroborated by the treasures from King Muryeong’s tomb.

To take a look at the stone animal figure in detail, as previously mentioned the sculpture was placed at the entrance to the tomb facing outwards. It is a sturdy figure made of tuff and stands 30cm high with total body length of 47cm and width of 22cm. In appearance, it has big bulging eyes, and while the nose itself is thick and blunt the nose ridge is high. The thick lips are slightly parted and are painted a reddish color like a coat of lipstick. The ears are rounded but pointed upwards and on top of the head are horns made of metal. As for the body, there are four stripes raised like protuberances on the back. At the shoulders and hind legs on either side is a mane pattern which seems suggestive of wings. In the middle of the heavy rump is a short tail, also carved in relief, and beneath the tail the anus is also marked. The legs are very short and sturdy. An important point to note about the legs is that the left hind leg was broken on purpose and the figure buried in the

Front of the Stone Guardian

nmk 2015 summer | korean heritage

tomb in that state. Though the exact reason is unknown, it is believed the broken leg is related to the burial customs of that time.

As per the description above, the overall appearance and shape of the sculpture are very much like those of a pig. But on the other hand, certain features such as the horn, the raised stripes and the mane make it hard to see it as a pig. The only thing for certain is that it is not a real animal of this world.

To determine the identity of the animal, it is necessary to trace its origin. According to related research on the stone animal sculpture, the formal name of the figure is jinmyosu, which means “animal tomb guardian.” It is placed inside the tomb to protect the dead by preventing any evil spirits from entering. That is, it is indeed a guardian of the tomb. The custom of burying animal tomb guardians is believed to have originated in the Han Dynasty 206BCE– 220CE of China. The stone animal found inside the tomb of King Muryeong is considered to reflect exchange between Korea’s Baekje Kingdom and the Liang Dynasty of the Southern Dynasties in China. Indeed the depiction of wing-like designs on the body, burial with a broken leg, and placement at the center of the entrance are points of similarity between the Baekje sculpture and the animal tomb guardian found buried at the center of the entrance to the

13

Inside of the Tomb of King Muryeong

Back of the Stone Guardian

tomb of Gongan Tomb, burial place of Emperor He 488–502 (Xiao Baorong) last emperor of the Qi of the Southern Dynasties.

As explained above, the origins of the stone animal sculpture from the Tomb of King Muryeong can be found in China. However, the Baekje sculpture is clearly different to Chinese examples in external appearance for on first sight the Chinese animal tomb guardians look strong and harsh. Though the somewhat grotesque appearance makes its Chinese origin and influence undeniable, after a slower, closer inspection the Korean sentiment becomes apparent through the coarse yet friendly feel of the animal. Because

of these characteristics the stone animal sculpture exemplifies the coarseness found in Korean cultural artifacts. To manifest its function, the sculpture borrows external motives for manufacture, but the finished work is completely transformed to have Korean sentiment and feeling. This can be keenly felt through the stone animal figure from the Tomb of King Muryeong.

14

zoom in

nmk 2015 summer | korean heritage

15

new metal craft

Gilt-bronze Buddha

T

he Buddha’s facial expression is quite solemn and dignified, with just the hint of a merciful smile. The facial features were delicately carved with a knife, while the folds of the robe, the lines of the palms, and the outlines of the background halo were engraved with a pointed chisel. Each tap of the chisel produced a mark that was only 1.5 mm in length, which demonstrates the masterful skill and elaboration that went into the production.

There are two casting holes on the back of the head and body, through which the clay mould was removed. The figure is connected to the background halo by a tiny extension just below the back of the neck.

Both the pedestal and background halo are largely intact, with several gems still remaining in each. On the background halo, the gems are in the center of flower-shaped decorations, each of which was separately attached with rivets. Both of the two lowermost gem decorations are topped by a flying apsara, seated with one knee drawn up and hands clasped. The rest of the background halo is embellished with two different openwork patterns: a flame design surrounding a central scroll design. Behind the Buddha’s head is a lotus decoration, with the tips of the petals bent slightly inward.

The pedestal is quite resplendent, with the upper and lower parts symmetrically shaped like upturned and downturned lotus petals, respectively. Between the two is an ornate ring with jeweled flower decorations inserted.

Gilt-bronze Buddha Unified Silla Period, Late 8th to 9th century H. 30.0 cm Purchased in 2014 koo 9708

14

zoom in

nmk 2015 summer | korean heritage

15

new metal craft

Gilt-bronze Buddha

T

he Buddha’s facial expression is quite solemn and dignified, with just the hint of a merciful smile. The facial features were delicately carved with a knife, while the folds of the robe, the lines of the palms, and the outlines of the background halo were engraved with a pointed chisel. Each tap of the chisel produced a mark that was only 1.5 mm in length, which demonstrates the masterful skill and elaboration that went into the production.

There are two casting holes on the back of the head and body, through which the clay mould was removed. The figure is connected to the background halo by a tiny extension just below the back of the neck.

Both the pedestal and background halo are largely intact, with several gems still remaining in each. On the background halo, the gems are in the center of flower-shaped decorations, each of which was separately attached with rivets. Both of the two lowermost gem decorations are topped by a flying apsara, seated with one knee drawn up and hands clasped. The rest of the background halo is embellished with two different openwork patterns: a flame design surrounding a central scroll design. Behind the Buddha’s head is a lotus decoration, with the tips of the petals bent slightly inward.

The pedestal is quite resplendent, with the upper and lower parts symmetrically shaped like upturned and downturned lotus petals, respectively. Between the two is an ornate ring with jeweled flower decorations inserted.

Gilt-bronze Buddha Unified Silla Period, Late 8th to 9th century H. 30.0 cm Purchased in 2014 koo 9708

16

special exhibition

nmk 2015 summer | from the gallery

JUNE 5 – AUGUST 30, 2015 SPECIAL EXHIBITION GALLERY

POLISH ART : AN ENDURING SPIRIT by kim seungik, associate curator of the exhibition division

J

ointly organized by the National Museum of Korea and the National Museum in Warsaw, Polish Art: An Enduring Spirit is the first large scale exhibition in Korea to feature Polish art and history. To most Koreans, Poland, with its one thousand years of history, is famous as the homeland of Nicolaus Copernicus who brought the scientific revolution to Europe and Frédéric Chopin, the poet of the piano.

The exhibition gives an overview of Polish history and culture from the Middle Ages to the 20th century through its major historical figures and artworks covering the range from paintings and sculptures to drawings and craftworks. The 250 items on display come from 19 institutions in Poland, including the National Museum

in Warsaw, and represent the best of Polish art, which flourished brilliantly amid a stormy history.

MEDIEVAL ART The history of the Polish state begins with the adoption of Christianity by the aristocracy in 966. Hence most of the nation’s Medieval art is religious art. That is, most art works were created for church rites and ceremonies and according to the demands of believers. In the 11th and 12th centuries churches and chapels were decorated with stone sculptures. While traces of frescoes remain on the walls of some buildings, only a few ornamental elements of the Romanesque churches have survived into the present. In the 13th

and 14th centuries the churches gradually became grander, and the utensils used in the services grew more lavish and diverse. The altar was painted and decorated with carvings and finely crafted gold ritual implements were used. The carved and painted altars are counted among the most valuable works of Medieval art.

In Poland, the Virgin Mary was always an object of worship and hence she often appears as the subject of art. Beautiful Madonna, an image of a young Mary holding the baby Jesus in her arms and looking down at him with compassion, was of course created to impress and inspire religious faith, but they also reflect the highest level of artistry with their rich colors and beautiful expression of human forms.

17

16

special exhibition

nmk 2015 summer | from the gallery

JUNE 5 – AUGUST 30, 2015 SPECIAL EXHIBITION GALLERY

POLISH ART : AN ENDURING SPIRIT by kim seungik, associate curator of the exhibition division

J

ointly organized by the National Museum of Korea and the National Museum in Warsaw, Polish Art: An Enduring Spirit is the first large scale exhibition in Korea to feature Polish art and history. To most Koreans, Poland, with its one thousand years of history, is famous as the homeland of Nicolaus Copernicus who brought the scientific revolution to Europe and Frédéric Chopin, the poet of the piano.

The exhibition gives an overview of Polish history and culture from the Middle Ages to the 20th century through its major historical figures and artworks covering the range from paintings and sculptures to drawings and craftworks. The 250 items on display come from 19 institutions in Poland, including the National Museum

in Warsaw, and represent the best of Polish art, which flourished brilliantly amid a stormy history.

MEDIEVAL ART The history of the Polish state begins with the adoption of Christianity by the aristocracy in 966. Hence most of the nation’s Medieval art is religious art. That is, most art works were created for church rites and ceremonies and according to the demands of believers. In the 11th and 12th centuries churches and chapels were decorated with stone sculptures. While traces of frescoes remain on the walls of some buildings, only a few ornamental elements of the Romanesque churches have survived into the present. In the 13th

and 14th centuries the churches gradually became grander, and the utensils used in the services grew more lavish and diverse. The altar was painted and decorated with carvings and finely crafted gold ritual implements were used. The carved and painted altars are counted among the most valuable works of Medieval art.

In Poland, the Virgin Mary was always an object of worship and hence she often appears as the subject of art. Beautiful Madonna, an image of a young Mary holding the baby Jesus in her arms and looking down at him with compassion, was of course created to impress and inspire religious faith, but they also reflect the highest level of artistry with their rich colors and beautiful expression of human forms.

17

18

feature exhibition

nmk 2015 summer | from the gallery

Madonna and Child By a Polish sculptor ca. 1420–1430 Polychrome on wood 121.0 × 44.0 × 26.5 cm The National Museum in Warsaw, inv. no. Śr. 7 MNW Photo©Ligier Piotr

TRADITIONAL POLISH ART The 16th and 17th centuries were the golden age of politics and economics in Poland.

Thanks to the nation’s location on the border between eastern and western Europe, the Polish culture was nourished by various elements and thrived. This era is commonly called the Sarmatian Age, based on the belief of the Polish nobility in their descent from the brave Sarmatians. The genre which best reflected Sarmatism, the philosophy underlying Poland’s customs and traditions from the 16th to 18th centuries, was portraiture. Men were generally depicted as heroic figures dressed in luxurious Eastern style costume, and to be remembered in posterity the paintings always featured symbols related to subject’s status and rank such as medals, inscriptions or family crests. Also on display are luxurious clothing and weapons, finely crafted gold ornaments and other costly craftworks that reflect the power and spirit of Poland at its height.

19

Welcome Cup of Vistula Skippers in Gdańsk

By Johann Jöde 1727 Silver 34.0 × 15.6 cm The National Museum in Gdańsk, inv. no. MNG/SD/120/Mt Photo©K.Sadowski

Family of Mary

By Master of the Family of Mary ca. 1510–1515 Tempera, gold leaf on a wooden board 164.0 × 129.0 cm The National Museum in Warsaw, inv. no. Śr. 41/1 MNW Photo©Ligier Piotr

ART AS “THE KINGDOM OF THE SPIRIT” In the end of the 18th century Poland was divided up by Russia, Prussia and Austria, and the once mighty nation was wiped off the world map. Paradoxically, however, it was under this colonial rule that Polish art flourished more than ever before. With the loss of the authority of the church and the throne, religious art and classical artworks sponsored by the court gradually disappeared. Instead, new genres of art for a new audience appeared with works exploring themes such as nature, the homeland in the past, city landmarks, and traditional folk culture. Historical paintings in particular became the most important genre in the 19th century Polish art. For a long time these paintings played an important role in forming the historical memory and imagination of the Polish people. The great Polish composer Frédéric Chopin 1810–1849 may have spent most of his life in exile, but his works such as the polonaises and the

mazurkas contain Polish traditional melodies. The painting Chopin’s Polonaise / Ball at the Hotel Lambert in Paris by Teofil Kwiatkowski 1809–1891 features Polish exiles who had participated in failed uprisings.

They take the form of spectral winged hussars dancing to music played by Chopin, a visualization of Poland’s past and the homesickness of the exiles. The poetry so loved by the Polish people, paintings that show the natural environment and the everyday life of the people, and the music of Chopin are artworks that sprung from souls living under oppression. The art of those times inspired national consciousness and patriotism and laid the groundwork for Poland’s spiritual revival in the next century.

ART OF THE “YOUNG POLAND” PERIOD The transitional period before the 20th century was the golden age of Polish painting. Artists moved away from the histori-

18

feature exhibition

nmk 2015 summer | from the gallery

Madonna and Child By a Polish sculptor ca. 1420–1430 Polychrome on wood 121.0 × 44.0 × 26.5 cm The National Museum in Warsaw, inv. no. Śr. 7 MNW Photo©Ligier Piotr

TRADITIONAL POLISH ART The 16th and 17th centuries were the golden age of politics and economics in Poland.

Thanks to the nation’s location on the border between eastern and western Europe, the Polish culture was nourished by various elements and thrived. This era is commonly called the Sarmatian Age, based on the belief of the Polish nobility in their descent from the brave Sarmatians. The genre which best reflected Sarmatism, the philosophy underlying Poland’s customs and traditions from the 16th to 18th centuries, was portraiture. Men were generally depicted as heroic figures dressed in luxurious Eastern style costume, and to be remembered in posterity the paintings always featured symbols related to subject’s status and rank such as medals, inscriptions or family crests. Also on display are luxurious clothing and weapons, finely crafted gold ornaments and other costly craftworks that reflect the power and spirit of Poland at its height.

19

Welcome Cup of Vistula Skippers in Gdańsk

By Johann Jöde 1727 Silver 34.0 × 15.6 cm The National Museum in Gdańsk, inv. no. MNG/SD/120/Mt Photo©K.Sadowski

Family of Mary

By Master of the Family of Mary ca. 1510–1515 Tempera, gold leaf on a wooden board 164.0 × 129.0 cm The National Museum in Warsaw, inv. no. Śr. 41/1 MNW Photo©Ligier Piotr

ART AS “THE KINGDOM OF THE SPIRIT” In the end of the 18th century Poland was divided up by Russia, Prussia and Austria, and the once mighty nation was wiped off the world map. Paradoxically, however, it was under this colonial rule that Polish art flourished more than ever before. With the loss of the authority of the church and the throne, religious art and classical artworks sponsored by the court gradually disappeared. Instead, new genres of art for a new audience appeared with works exploring themes such as nature, the homeland in the past, city landmarks, and traditional folk culture. Historical paintings in particular became the most important genre in the 19th century Polish art. For a long time these paintings played an important role in forming the historical memory and imagination of the Polish people. The great Polish composer Frédéric Chopin 1810–1849 may have spent most of his life in exile, but his works such as the polonaises and the

mazurkas contain Polish traditional melodies. The painting Chopin’s Polonaise / Ball at the Hotel Lambert in Paris by Teofil Kwiatkowski 1809–1891 features Polish exiles who had participated in failed uprisings.

They take the form of spectral winged hussars dancing to music played by Chopin, a visualization of Poland’s past and the homesickness of the exiles. The poetry so loved by the Polish people, paintings that show the natural environment and the everyday life of the people, and the music of Chopin are artworks that sprung from souls living under oppression. The art of those times inspired national consciousness and patriotism and laid the groundwork for Poland’s spiritual revival in the next century.

ART OF THE “YOUNG POLAND” PERIOD The transitional period before the 20th century was the golden age of Polish painting. Artists moved away from the histori-

20

feature exhibition

nmk 2015 summer | from the gallery

1

2

21

1 Chopin's Polonaise / Ball at the Hôtel Lambert in Paris

By Teofil Kwiatkowski 1859 Watercolour, gouache 61.5 × 125.7 cm The National Museum in Poznań, inv. no. MNP Mp 479 Photo©The National Museum in Poznań

3

2 One Chord-Self-Portrait

By Jacek Malczewski 1908 Oil on cardboard 97.0 � 79.0 cm The National Museum in Warsaw, inv. no. MP 1276 MNW Photo©Ligier Piotr 3 Dom bez okien (House without windows)

By Wiktor Górka 1962 Colour offset 85.0 × 58.5 cm The Poster Museum at Wilanów in Warsaw, inv. no. Pl.640/ Mx1 MNW Photo©Michalak Marcin, Studio MM

PUBLICATION

cal paintings that had been so important before and called themselves “young” and “new.” Freeing themselves from the idea that art had to be patriotic, they sought purely artistic values and began to incorporate poetry and music in their work, especially the music of Chopin. The paintings of this time, while focusing at first on poetic and musical qualities, went on to prove that all things could be expressed in art such as ecstasy, grief, and even grotesque self-parody. Young painters also began to depart from the basic framework of realistic expression. Discarding the rules of perspective, which had been such an important principle of European art, they introduced unnatural colors and boldly distorted forms and filled the canvas with new techniques of their own.

Polish art in the late 19th to early 20th centuries sought to find balance between a sense of duty to the state and pure art, and the modern influences coming out of the art centers of Europe and their own traditions. The special exhibition features the

work of several Polish artists who carved out distinct identities in a period of transition including Stanisław Wyspiański, 1869– 1907 who was not only painter and poet but also playwright and stage director, and 1854–1929 who mixed Jacek Malczewski, Polish traditional folk elements with ancient Greek mythical figures to create his own symbolic language.

POLISH ART IN THE 20TH CENTURY The liberation of Poland in 1918 was an important turning point in the country’s history. Prior to independence, art had been fettered to the theme of patriotism, but under the new state systems, supporting art were put in order, and the need arose for creation of new forms. At the same time, both art and artists had to find a social duty distinct from those of the past. Experimentalism marked all creative endeavors from the radicalism of avant-garde to the tradition of historical paintings. Since the end of World War II

to the present Polish art had progressed to embody passion, diverse perspectives and achievements.

The exhibition at the NMK introduces poster art, considered one of the special achievements of Polish art in the latter half of the 20th century. Artists of the Polish Poster School did not treat the poster, hung in public places as a form of street art, as a tool for spreading information or advertisement. Instead, they transformed the poster into a sophisticated form of graphic art, containing intellectual and succinct messages, hence making poster art one of the major achievements of Polish art in the 20th century.

This catalogue is divided into two parts, 180 pages devoted to photographs of the works and 50 pages to commentary on the works. This composition enables one to concentrate on the 250 exhibits as works of art. Moreover, the exhaustive explanations of the works at the back boost the readers’ understanding. Each chapter is headed with text provided by Maria Poprzęcka (professor at the Faculty of Artes Liberales, University of Warsaw), and the catalogue also contains essays on Jan Matejko, famous for his historical paintings, and Jacek Malczewski, forerunner of Polish symbolism.

This catalogue brings together the posters featured in the special exhibition. The Polish Poster School, which reached its peak in the latter half of the 20th century, did not treat the poster as a tool for spreading information or advertisement.

They transformed the poster into a sophisticated form of graphic art with international recognition. The book contains 76 works by 24 artists active mostly in the 1950s and 1960s, arranged in chronological order, which will provide insight into the unique world of Polish poster art.

Title Polish Art: An Enduring Spirit ISBN 978-89-8164-124-5 Pages 268 Size 28.0 × 22.0 cm Language Korean (with titles of works in English) Published June 2015 Price KRW 25,000 (approx. $22.40)

Title Polish Posters 76/24 ISBN 978-89-7059-804-8 Pages 184 Size 25.0 × 18.0 cm Language Korean (with titles of works in English) Published June 2, 2015 Price KRW 18,000 (approx. $16)

20

feature exhibition

nmk 2015 summer | from the gallery

1

2

21

1 Chopin's Polonaise / Ball at the Hôtel Lambert in Paris

By Teofil Kwiatkowski 1859 Watercolour, gouache 61.5 × 125.7 cm The National Museum in Poznań, inv. no. MNP Mp 479 Photo©The National Museum in Poznań

3

2 One Chord-Self-Portrait

By Jacek Malczewski 1908 Oil on cardboard 97.0 � 79.0 cm The National Museum in Warsaw, inv. no. MP 1276 MNW Photo©Ligier Piotr 3 Dom bez okien (House without windows)

By Wiktor Górka 1962 Colour offset 85.0 × 58.5 cm The Poster Museum at Wilanów in Warsaw, inv. no. Pl.640/ Mx1 MNW Photo©Michalak Marcin, Studio MM

PUBLICATION

cal paintings that had been so important before and called themselves “young” and “new.” Freeing themselves from the idea that art had to be patriotic, they sought purely artistic values and began to incorporate poetry and music in their work, especially the music of Chopin. The paintings of this time, while focusing at first on poetic and musical qualities, went on to prove that all things could be expressed in art such as ecstasy, grief, and even grotesque self-parody. Young painters also began to depart from the basic framework of realistic expression. Discarding the rules of perspective, which had been such an important principle of European art, they introduced unnatural colors and boldly distorted forms and filled the canvas with new techniques of their own.

Polish art in the late 19th to early 20th centuries sought to find balance between a sense of duty to the state and pure art, and the modern influences coming out of the art centers of Europe and their own traditions. The special exhibition features the

work of several Polish artists who carved out distinct identities in a period of transition including Stanisław Wyspiański, 1869– 1907 who was not only painter and poet but also playwright and stage director, and 1854–1929 who mixed Jacek Malczewski, Polish traditional folk elements with ancient Greek mythical figures to create his own symbolic language.

POLISH ART IN THE 20TH CENTURY The liberation of Poland in 1918 was an important turning point in the country’s history. Prior to independence, art had been fettered to the theme of patriotism, but under the new state systems, supporting art were put in order, and the need arose for creation of new forms. At the same time, both art and artists had to find a social duty distinct from those of the past. Experimentalism marked all creative endeavors from the radicalism of avant-garde to the tradition of historical paintings. Since the end of World War II

to the present Polish art had progressed to embody passion, diverse perspectives and achievements.

The exhibition at the NMK introduces poster art, considered one of the special achievements of Polish art in the latter half of the 20th century. Artists of the Polish Poster School did not treat the poster, hung in public places as a form of street art, as a tool for spreading information or advertisement. Instead, they transformed the poster into a sophisticated form of graphic art, containing intellectual and succinct messages, hence making poster art one of the major achievements of Polish art in the 20th century.

This catalogue is divided into two parts, 180 pages devoted to photographs of the works and 50 pages to commentary on the works. This composition enables one to concentrate on the 250 exhibits as works of art. Moreover, the exhaustive explanations of the works at the back boost the readers’ understanding. Each chapter is headed with text provided by Maria Poprzęcka (professor at the Faculty of Artes Liberales, University of Warsaw), and the catalogue also contains essays on Jan Matejko, famous for his historical paintings, and Jacek Malczewski, forerunner of Polish symbolism.

This catalogue brings together the posters featured in the special exhibition. The Polish Poster School, which reached its peak in the latter half of the 20th century, did not treat the poster as a tool for spreading information or advertisement.

They transformed the poster into a sophisticated form of graphic art with international recognition. The book contains 76 works by 24 artists active mostly in the 1950s and 1960s, arranged in chronological order, which will provide insight into the unique world of Polish poster art.

Title Polish Art: An Enduring Spirit ISBN 978-89-8164-124-5 Pages 268 Size 28.0 × 22.0 cm Language Korean (with titles of works in English) Published June 2015 Price KRW 25,000 (approx. $22.40)

Title Polish Posters 76/24 ISBN 978-89-7059-804-8 Pages 184 Size 25.0 × 18.0 cm Language Korean (with titles of works in English) Published June 2, 2015 Price KRW 18,000 (approx. $16)

22

visitor

nmk 2015 summer | from the gallery

DISCOVERING TUMULTUOUS HISTORY AND ART

PARK DONGGYU History teacher

by the editorial team

2. What are your thoughts after seeing the flow of Polish art from the Middle Ages to the 20th century?

3. Which item did you find most memorable and why?

4. How would you recommend the exhibition to those who have yet to see it?

CHO KYUNGMI

1. I came to see the exhibition with the aim of planning some related holiday activity programs for elementary and high school students.

2. The Polish culture is not familiar to us and at first I found everything a little new. But the traces of world history were everywhere and I immediately became absorbed in the exhibition. The exhibits were well arranged in chronological order but also according to theme, which made it easy to follow the development of Polish art. Videos were also well placed and helped me to better understand the historical background and the people who featured in it.

3. I was amazed at the sheer scale of the painting Stefan Batory at Pskov, which is 6m wide. The Moscow insignia is laid before the king’s feet and there is a man kneeling before the king offering bread and salt. The realistic expressions on the faces of the ministers of the enemy state are memorable. The explanation to the painting goes into detail about the king, the ministers and envoys. If you were to make a map of the figures in the painting, it would be helpful in understanding the background to the painting. Moreover, the frame, which was decorated in all four corners, was very beautiful.

4. Catholic believers should visit the exhibition to see the statue of the Virgin Mary and the Cross, an elegant figure with an emotionally expressive face.

1. I visited the museum because I wanted to regain my objectives as a history teacher. I was intending to see the permanent exhibition again but the banners at the entrance caught my eye and led me to the special exhibition. So I had the good fortune of seeing a rare exhibition of Polish art.

2. The exhibition showed how Polish art was affected by the greater context of Western history. The works that reflected Poland’s turbulent history were particularly interesting. Also, it suddenly came to mind that Poland is the country of the labor activist Lech Walesa. I also realized that Korea has many points in common with Poland, which is surrounded by greater powers and was always exposed to war, was partitioned into three parts, and was oppressed under colonial rule.

What made you visit the special exhibition?

1.

Activity instructor

23

KIM HYOSUN Home tutor

1. I’m interested in history and come to the museum once or twice every month.

I saw an ad for the special exhibition in the online news and wanted to see it since there is related content in the tutoring materials that I use.

2. I have travelled to Europe but I didn’t get to see Poland. I had high expectations of the exhibition, especially considering the phrase “an enduring spirit” from the title. After seeing everything from religious works of the Middle Ages and portraits and historical paintings from the 16th to 18th centuries to post-20th century creative works, I felt like I had come to understand Poland in two hours. The content was solid and made me want to go home and read up more on Polish history.

3. I was struck by the painting the Battle of Grunwald, which depicts the victory of the Polish allied forces over the Teutonic Order. The power and vitality in the painting seem to convey the strength and convictions of the Polish people and the love of their country.

4. The exhibition brings together works from several Polish institutions so there is diverse range of works including large paintings and craft works that anyone can enjoy. Even if I travel to Poland and visit a few museums there, I don’t think I will get another chance to see Polish art with such detailed explanations making it easy for me to understand what I’m looking at.

3. I was impressed by the 15m long documentary painting that was reproduced in video form along one wall of the exhibition hall. The Stockholm Scroll, which records a royal wedding procession, made me think of uigwe (records of state ceremonies). They are similar in that both are valuable historical records providing evidence of royal culture, costume and military implements, but have a very different feel as far as celebratory mood goes.

4. Students should find the exhibition interesting as they can see a musical score with Chopin’s handwriting on it and a cast of his hand as well as handwritten notes by Copernicus. A Chopin concert “Night of Chopin” is held on the last Wednesday of the months June to August, which should be an unforgettable experience.

22

visitor

nmk 2015 summer | from the gallery

DISCOVERING TUMULTUOUS HISTORY AND ART

PARK DONGGYU History teacher

by the editorial team

2. What are your thoughts after seeing the flow of Polish art from the Middle Ages to the 20th century?

3. Which item did you find most memorable and why?

4. How would you recommend the exhibition to those who have yet to see it?

CHO KYUNGMI

1. I came to see the exhibition with the aim of planning some related holiday activity programs for elementary and high school students.

2. The Polish culture is not familiar to us and at first I found everything a little new. But the traces of world history were everywhere and I immediately became absorbed in the exhibition. The exhibits were well arranged in chronological order but also according to theme, which made it easy to follow the development of Polish art. Videos were also well placed and helped me to better understand the historical background and the people who featured in it.

3. I was amazed at the sheer scale of the painting Stefan Batory at Pskov, which is 6m wide. The Moscow insignia is laid before the king’s feet and there is a man kneeling before the king offering bread and salt. The realistic expressions on the faces of the ministers of the enemy state are memorable. The explanation to the painting goes into detail about the king, the ministers and envoys. If you were to make a map of the figures in the painting, it would be helpful in understanding the background to the painting. Moreover, the frame, which was decorated in all four corners, was very beautiful.

4. Catholic believers should visit the exhibition to see the statue of the Virgin Mary and the Cross, an elegant figure with an emotionally expressive face.

1. I visited the museum because I wanted to regain my objectives as a history teacher. I was intending to see the permanent exhibition again but the banners at the entrance caught my eye and led me to the special exhibition. So I had the good fortune of seeing a rare exhibition of Polish art.

2. The exhibition showed how Polish art was affected by the greater context of Western history. The works that reflected Poland’s turbulent history were particularly interesting. Also, it suddenly came to mind that Poland is the country of the labor activist Lech Walesa. I also realized that Korea has many points in common with Poland, which is surrounded by greater powers and was always exposed to war, was partitioned into three parts, and was oppressed under colonial rule.

What made you visit the special exhibition?

1.

Activity instructor

23

KIM HYOSUN Home tutor

1. I’m interested in history and come to the museum once or twice every month.

I saw an ad for the special exhibition in the online news and wanted to see it since there is related content in the tutoring materials that I use.

2. I have travelled to Europe but I didn’t get to see Poland. I had high expectations of the exhibition, especially considering the phrase “an enduring spirit” from the title. After seeing everything from religious works of the Middle Ages and portraits and historical paintings from the 16th to 18th centuries to post-20th century creative works, I felt like I had come to understand Poland in two hours. The content was solid and made me want to go home and read up more on Polish history.

3. I was struck by the painting the Battle of Grunwald, which depicts the victory of the Polish allied forces over the Teutonic Order. The power and vitality in the painting seem to convey the strength and convictions of the Polish people and the love of their country.

4. The exhibition brings together works from several Polish institutions so there is diverse range of works including large paintings and craft works that anyone can enjoy. Even if I travel to Poland and visit a few museums there, I don’t think I will get another chance to see Polish art with such detailed explanations making it easy for me to understand what I’m looking at.

3. I was impressed by the 15m long documentary painting that was reproduced in video form along one wall of the exhibition hall. The Stockholm Scroll, which records a royal wedding procession, made me think of uigwe (records of state ceremonies). They are similar in that both are valuable historical records providing evidence of royal culture, costume and military implements, but have a very different feel as far as celebratory mood goes.

4. Students should find the exhibition interesting as they can see a musical score with Chopin’s handwriting on it and a cast of his hand as well as handwritten notes by Copernicus. A Chopin concert “Night of Chopin” is held on the last Wednesday of the months June to August, which should be an unforgettable experience.

24

special exhibition

nmk 2015 summer | from the gallery

MAY 23 – AUGUST 2, 2015 SPECIAL EXHIBITION GALLERY

DEVOUT PATRONS OF BUDDHIST ART by shin soyeon, associate curator of the fine arts department

H

eld to mark Buddha’s Birthday, the special exhibition Devout Patrons of Buddhist Art features 80 major works from ancient times to the Joseon Dynasty 1392–1897 that reflect changes in the patronage of Buddhist art in Korea. Buddhist patrons built temples, erected pagodas and temple halls where Buddhist images and paintings were enshrined, and published sutras. While piling up such acts of piety, believers prayed to the Buddha to fulfill their wishes. Korean Buddhist artworks are the result of such prayers and wishes and it was because there were so many patrons that so many temples were built.

The Prologue “Significance of Buddhist Patronage” explores the significance of patrons’ wishes through the Buddhist art works of the Three Kingdoms and Unified Silla periods and the circumstances of the time, when Buddhism, the spiritual base for the establishment of a central government, received the patronage of the royal court and the state. The royal court built pago-

25

das to pray for the welfare of the nation and the happiness of the ancestors in the other world. In this the court also had a political motive, that is, to show off national power and the authority of the king. A major work in this part of the exhibition is the Reliquaries from Hwangboksa Temple site.

Part 1 “Kings and Aristocrats: Publication of Sutras” introduces the sutras and temples that attracted the greatest patronage among figures in authority including the royal family, aristocrats, and central government officials. The Tripitaka Koreana, the complete Buddhist canon, was produced to pray for the nation in a time of crisis and concentrate national power to fight the foreign invaders. Copying sutras in silver or gold ink was a task that required such great financial resources that it was generally funded by members of the upper class. In some cases, the private wishes of individual patrons were also recorded in the sutra copies. The most important exhibit in this category is the Samantab-

24

special exhibition

nmk 2015 summer | from the gallery

MAY 23 – AUGUST 2, 2015 SPECIAL EXHIBITION GALLERY

DEVOUT PATRONS OF BUDDHIST ART by shin soyeon, associate curator of the fine arts department

H

eld to mark Buddha’s Birthday, the special exhibition Devout Patrons of Buddhist Art features 80 major works from ancient times to the Joseon Dynasty 1392–1897 that reflect changes in the patronage of Buddhist art in Korea. Buddhist patrons built temples, erected pagodas and temple halls where Buddhist images and paintings were enshrined, and published sutras. While piling up such acts of piety, believers prayed to the Buddha to fulfill their wishes. Korean Buddhist artworks are the result of such prayers and wishes and it was because there were so many patrons that so many temples were built.

The Prologue “Significance of Buddhist Patronage” explores the significance of patrons’ wishes through the Buddhist art works of the Three Kingdoms and Unified Silla periods and the circumstances of the time, when Buddhism, the spiritual base for the establishment of a central government, received the patronage of the royal court and the state. The royal court built pago-

25

das to pray for the welfare of the nation and the happiness of the ancestors in the other world. In this the court also had a political motive, that is, to show off national power and the authority of the king. A major work in this part of the exhibition is the Reliquaries from Hwangboksa Temple site.

Part 1 “Kings and Aristocrats: Publication of Sutras” introduces the sutras and temples that attracted the greatest patronage among figures in authority including the royal family, aristocrats, and central government officials. The Tripitaka Koreana, the complete Buddhist canon, was produced to pray for the nation in a time of crisis and concentrate national power to fight the foreign invaders. Copying sutras in silver or gold ink was a task that required such great financial resources that it was generally funded by members of the upper class. In some cases, the private wishes of individual patrons were also recorded in the sutra copies. The most important exhibit in this category is the Samantab-

26

special exhibition

nmk 2015 summer | from the gallery

hadra Bodhisattva from the Avatamsaka Sutra (Treasure No. 752) from the collection of Horim Museum.

Part 2 “Statues Produced by Patrons of Every Class” explores the growth in the number of patrons and the spread of patronage to all classes of society with the emergence in the 13th century of the practice of enshrining bokjangmul, votive offerings inside Buddhist images. These votive offerings comprised various objects such as written prayer papers, sutras, sarira, cloth, and grains, which served to transform the image from a simple statue made of bronze or wood to the Buddha himself. The emergence of this new way of making votive offerings instigated wider patronage of Buddhist art throughout society. The birth of one statue required material and spiritual support and the king, officials, and common people of all classes participated. Major exhibits include the Gilt-bronze Amitabha Buddha Triad as well as Bokjangmul, objects installed in Amitabha Buddha of Munsusa Temple and a Confucian-style Coat worn by King Yeongjo and Prayer.

Part 3 “Ritual Implements Offered by Buddhist Factions” sheds light on the patrons of various Buddhist implements commonly found at temples including temple bells, metal gongs, incense burners, candlesticks, and various dishes. Such items were generally provided by communities of local believers called hyangdo, whose members ranged from high government officials, regional officials and military officers to women and other local country residents. Their patronage generally covered the ritual implements and offering vessels required by temples in rural areas. The quality of the items provided varied according to the

status of the members of the hyangdo. Some of the major works in this part of the exhibition are the Bronze Bell with Inscription “Daehyewon” (Treasure No. 1781) and the Bronze Gong with Inscription “Year of Imja” (Treasure No. 495) from Okcheonsa Temple in Goseong.

Part 4 “Women of the Royal Court as Major Buddhist Patrons” shows how women of the royal court continued to take active part in Buddhist activities until the early Joseon Dynasty despite the state policy of suppressing Buddhism and promoting Confucianism. Women of the royal family led Buddhist projects in all areas from the construction and renovation of temples to the enshrinement of Buddhist statues and paintings and production of temple bells. Major exhibits in this section include the Buddist Shrine and Images from the Pagoda of Sujongsa Temple and Bokjangmul, objects from Amitabha Buddha of Heukseoksa Temple. The names of court painters often appear on the Buddhist artifacts made under the patronage of royal women, indicating that the greatest artists and craftsmen of the day took part in their production. In the latter Joseon period when Confucian norms became firmly established along with the development in ritual studies, Buddhist patronage by the royal court declined but the concubines and court ladies emerged as major patrons instead.

Part 5 “Monks and Ordinary People Lead the Buddhist Revival” explores the rise in the social status of Buddhist monks following their participation in the fight against the Japanese invasions and the Manchu invasions in the Joseon period. As reconstruction of the temples began after the wars the monks

Bronze Bell with Inscription “Daehyewon” Goryeo H. 74.8 cm Treasure No. 1781 Woohak Cultural Foundation, Yongin University

Buddist Shrine and Images from the Pagoda of Sujongsa Temple Joseon, 1493 · 1628 Gilt-bronze H. 21.0 cm (Buddhist Shrine) Treasure No. 1788 Central Buddhist Museum

27

divided duties and took charge of various projects. Particularly active were the sculptor monks who produced Buddhist images and the artist monks who produced paintings for the temples.

The funding for these projects was not borne by any specific group but collected by the monks and ordinary lay believers. Big Buddhist rituals such as Yeongsanjae and Suryukjae were to appease the souls of the countless people who died in war, which led to greatly increased production of large hanging scroll paintings, gwebul, or paintings depicting the nectar receiving ritual, gam­nodo, to be used on such occasions. In the later part of the Joseon Dynasty fewer paintings carried inscriptions stating the status of the donor or patron providing financial or material aid, which suggests that patronage of Buddhist art had spread to the

ordinary people. Items on display include Shakyamuni’s Preaching at Vulture Peak from the collection of Dongguk University Museum, and Saving Hungry Ghosts by Giving Nectar from the collection of Wonkwang University Museum.

Rounding off the exhibition, the Epilogue features exhibits that show how the virtues of former generations are passed onto following generations through Buddhist rites. These include a Basin for the Ritual Bathing of Infant Buddha and a wooden palanquin from 1670 used to carry the infant Buddha, still used today at the same rite held at Buryeongsa Temple in Uljin. As the first exhibition to explore Buddhist art through the patrons, it offers a look at people and incidents in history and hidden stories that cannot be found in books.

PUBLICATION

Published to accompany the special exhibition Devout Patrons of Buddhist Art, this catalogue is packed with interesting content such as the inscriptions and prayers attached to Buddhist art works and reference photos of the works that could not be included in the exhibition.

In the case of metal or wooden works with severely weathered inscriptions or carved designs, outline sketches have been included. The appendix contains three essays that discuss the custom of praying to the Buddha and making wishes through artworks in the Goryeo and Joseon Dynasties, and the influence of such on the development of Buddhist art.

Title Devout Patrons of Buddhist Art ISBN 978-89-8164-122-1 Pages 328 Size 28.5 × 22.5 cm Language Korean (with titles of works in English) Published May 20, 2015 Price KRW 35,000 (approx. $31)

26

special exhibition

nmk 2015 summer | from the gallery

hadra Bodhisattva from the Avatamsaka Sutra (Treasure No. 752) from the collection of Horim Museum.

Part 2 “Statues Produced by Patrons of Every Class” explores the growth in the number of patrons and the spread of patronage to all classes of society with the emergence in the 13th century of the practice of enshrining bokjangmul, votive offerings inside Buddhist images. These votive offerings comprised various objects such as written prayer papers, sutras, sarira, cloth, and grains, which served to transform the image from a simple statue made of bronze or wood to the Buddha himself. The emergence of this new way of making votive offerings instigated wider patronage of Buddhist art throughout society. The birth of one statue required material and spiritual support and the king, officials, and common people of all classes participated. Major exhibits include the Gilt-bronze Amitabha Buddha Triad as well as Bokjangmul, objects installed in Amitabha Buddha of Munsusa Temple and a Confucian-style Coat worn by King Yeongjo and Prayer.

Part 3 “Ritual Implements Offered by Buddhist Factions” sheds light on the patrons of various Buddhist implements commonly found at temples including temple bells, metal gongs, incense burners, candlesticks, and various dishes. Such items were generally provided by communities of local believers called hyangdo, whose members ranged from high government officials, regional officials and military officers to women and other local country residents. Their patronage generally covered the ritual implements and offering vessels required by temples in rural areas. The quality of the items provided varied according to the

status of the members of the hyangdo. Some of the major works in this part of the exhibition are the Bronze Bell with Inscription “Daehyewon” (Treasure No. 1781) and the Bronze Gong with Inscription “Year of Imja” (Treasure No. 495) from Okcheonsa Temple in Goseong.

Part 4 “Women of the Royal Court as Major Buddhist Patrons” shows how women of the royal court continued to take active part in Buddhist activities until the early Joseon Dynasty despite the state policy of suppressing Buddhism and promoting Confucianism. Women of the royal family led Buddhist projects in all areas from the construction and renovation of temples to the enshrinement of Buddhist statues and paintings and production of temple bells. Major exhibits in this section include the Buddist Shrine and Images from the Pagoda of Sujongsa Temple and Bokjangmul, objects from Amitabha Buddha of Heukseoksa Temple. The names of court painters often appear on the Buddhist artifacts made under the patronage of royal women, indicating that the greatest artists and craftsmen of the day took part in their production. In the latter Joseon period when Confucian norms became firmly established along with the development in ritual studies, Buddhist patronage by the royal court declined but the concubines and court ladies emerged as major patrons instead.

Part 5 “Monks and Ordinary People Lead the Buddhist Revival” explores the rise in the social status of Buddhist monks following their participation in the fight against the Japanese invasions and the Manchu invasions in the Joseon period. As reconstruction of the temples began after the wars the monks

Bronze Bell with Inscription “Daehyewon” Goryeo H. 74.8 cm Treasure No. 1781 Woohak Cultural Foundation, Yongin University

Buddist Shrine and Images from the Pagoda of Sujongsa Temple Joseon, 1493 · 1628 Gilt-bronze H. 21.0 cm (Buddhist Shrine) Treasure No. 1788 Central Buddhist Museum

27

divided duties and took charge of various projects. Particularly active were the sculptor monks who produced Buddhist images and the artist monks who produced paintings for the temples.

The funding for these projects was not borne by any specific group but collected by the monks and ordinary lay believers. Big Buddhist rituals such as Yeongsanjae and Suryukjae were to appease the souls of the countless people who died in war, which led to greatly increased production of large hanging scroll paintings, gwebul, or paintings depicting the nectar receiving ritual, gam­nodo, to be used on such occasions. In the later part of the Joseon Dynasty fewer paintings carried inscriptions stating the status of the donor or patron providing financial or material aid, which suggests that patronage of Buddhist art had spread to the

ordinary people. Items on display include Shakyamuni’s Preaching at Vulture Peak from the collection of Dongguk University Museum, and Saving Hungry Ghosts by Giving Nectar from the collection of Wonkwang University Museum.

Rounding off the exhibition, the Epilogue features exhibits that show how the virtues of former generations are passed onto following generations through Buddhist rites. These include a Basin for the Ritual Bathing of Infant Buddha and a wooden palanquin from 1670 used to carry the infant Buddha, still used today at the same rite held at Buryeongsa Temple in Uljin. As the first exhibition to explore Buddhist art through the patrons, it offers a look at people and incidents in history and hidden stories that cannot be found in books.

PUBLICATION

Published to accompany the special exhibition Devout Patrons of Buddhist Art, this catalogue is packed with interesting content such as the inscriptions and prayers attached to Buddhist art works and reference photos of the works that could not be included in the exhibition.

In the case of metal or wooden works with severely weathered inscriptions or carved designs, outline sketches have been included. The appendix contains three essays that discuss the custom of praying to the Buddha and making wishes through artworks in the Goryeo and Joseon Dynasties, and the influence of such on the development of Buddhist art.

Title Devout Patrons of Buddhist Art ISBN 978-89-8164-122-1 Pages 328 Size 28.5 × 22.5 cm Language Korean (with titles of works in English) Published May 20, 2015 Price KRW 35,000 (approx. $31)

28

rnm exhibition. 1

nmk 2015 summer | from the gallery

29

JUNE 2 – AUGUST 2, 2015 GWANGJU NATIONAL MUSEUM Head of Buddha 2nd century H. 30.3 cm Pakistan, Gandhara koo 4529

BUDDHIST ART IN ASIA: INDIA, SOUTHEAST ASIA, CENTRAL ASIA AND TIBET by the editorial team

Maitreya 7th century H. 21.5 cm Thailand koo 9422

T

o mark the opening of the Asian Culture Complex in Gwangju, the Gwangju National Museum has organized the special exhibition Buddhist Art in Asia: India, Southeast Asia, Central Asia and Tibet. Open during this year’s Summer Universiade, to be held in July, the exhibition is anticipated to draw greater crowds than usual. Divided into four parts, it explores the similarities and diversity of Buddhist culture in four Asian regions: India, Southeast Asia, Central Asia and Tibet. Awaiting visitors are 120 Buddhist sculptures, paintings and craft works including the head of a 2nd century Buddhist sculpture excavated from the Gandhara region and thangka paintings from Tibet.

Buddhism began in India in the 6th BCE based on the teachings of Siddhartha, and over the past 2500 years it has be-

come deeply entrenched in many people’s lives, particularly in Asia. Though starting as a religion, Buddhism gradually influenced all aspects of life including politics, philosophy, culture, and the arts.

Part 1 of the exhibition explores the theme of Buddhist art of India. One of the first places to produce Buddhist sculptures was the Gandhara region. As a result of Alexander the Great’s eastern expedition, many Greeks settled in this area, bringing with them the Hellenistic culture. Hence there emerged Buddhist sculptures made in the Western style, like Greek sculptures. Featured works in this part of the exhibition include stone works such as the statue of a Bodhisattva from the Pala Dynasty and a painting showing the Bodhisattva Tara.

Part 2 follows the changes in Buddhist art throughout Southeast Asia. Because of

28

rnm exhibition. 1

nmk 2015 summer | from the gallery

29

JUNE 2 – AUGUST 2, 2015 GWANGJU NATIONAL MUSEUM Head of Buddha 2nd century H. 30.3 cm Pakistan, Gandhara koo 4529

BUDDHIST ART IN ASIA: INDIA, SOUTHEAST ASIA, CENTRAL ASIA AND TIBET by the editorial team

Maitreya 7th century H. 21.5 cm Thailand koo 9422

T

o mark the opening of the Asian Culture Complex in Gwangju, the Gwangju National Museum has organized the special exhibition Buddhist Art in Asia: India, Southeast Asia, Central Asia and Tibet. Open during this year’s Summer Universiade, to be held in July, the exhibition is anticipated to draw greater crowds than usual. Divided into four parts, it explores the similarities and diversity of Buddhist culture in four Asian regions: India, Southeast Asia, Central Asia and Tibet. Awaiting visitors are 120 Buddhist sculptures, paintings and craft works including the head of a 2nd century Buddhist sculpture excavated from the Gandhara region and thangka paintings from Tibet.

Buddhism began in India in the 6th BCE based on the teachings of Siddhartha, and over the past 2500 years it has be-

come deeply entrenched in many people’s lives, particularly in Asia. Though starting as a religion, Buddhism gradually influenced all aspects of life including politics, philosophy, culture, and the arts.

Part 1 of the exhibition explores the theme of Buddhist art of India. One of the first places to produce Buddhist sculptures was the Gandhara region. As a result of Alexander the Great’s eastern expedition, many Greeks settled in this area, bringing with them the Hellenistic culture. Hence there emerged Buddhist sculptures made in the Western style, like Greek sculptures. Featured works in this part of the exhibition include stone works such as the statue of a Bodhisattva from the Pala Dynasty and a painting showing the Bodhisattva Tara.

Part 2 follows the changes in Buddhist art throughout Southeast Asia. Because of

30

rnm exhibition. 1

nmk 2015 summer | from the gallery

31

dalas, the symbolic representation of the theories of esoteric Buddhism.

The exhibition is a wonderful way to see how Buddhism took root in various parts of Asia with different natural environments and different historical and cultural contexts, and how faith was expressed in according to the aesthetic tastes of each region.

Lacquered Offering Vessel with Inlaid Glass 19th century H. 92.0 cm, D. 46.0 cm (bottom) Myanmar jng 1420

the hot and humid weather, Buddhist art works that have been handed down in this part of the world produce architecture and sculpture rather than paintings. The exhibition features sculptures, paintings and craft works from Vietnam, Cambodia, Thailand, Myanmar, and Indonesia.

Standing out among the diverse works are the fancy lacquered ritual vessels, sutras, and sutra box.

Part 3 introduces the Buddhist art of Central Asia. Playing a pivotal role in EastWest cultural exchange via the Silk Road, this region had a unique culture. With an extremely dry climate, Central Asia and the oasis region is marked by the presence of Buddhist cave temples, or grottoes, built with the wisdom of the desert people.

Paintings of the murals in the caves at Bezeklik, a clay Buddha and other works can be seen in the exhibition.

Part 4 is focused on the Buddhist art of Tibet, featuring thangka paintings with their detailed depiction and brilliant colors as well as all sorts of implements used in Buddhist ceremonies. Thangka, in the form of hanging scrolls, is a representa­ tive art of Tibet. The exhibition features diverse types of thangka including tshong shing, depicting myriad Buddhist deities in shapes resembling leafy trees, and man-

Akshobya Vajra Guhyasamaja Mandala Late 14th century L. 91.4 cm, W. 83.2 cm Tibet koo 5264

PUBLICATION

This is the catalogue accompanying the special exhibition of the same title at the Gwangju National Museum. Divided into four parts, it presents explanations and details that may have been initially overlooked as well as detailed photos of the relic. The book also shows the major Buddhist art works from each region, such as sculptures and paintings from India, metal and other craft works from Southeast Asia, relics excavated from the grottoes of Central Asia as well as thangka paintings from Tibet.

Title Buddhist Art in Asia: India, Southeast Asia, Central Asia and Tibet ISBN 978-89-98234-22-5 Pages 168 Size 26.0 Ă— 19.2 cm Language Korean Price KRW 18,000 (approx. $16)

30

rnm exhibition. 1

nmk 2015 summer | from the gallery

31

dalas, the symbolic representation of the theories of esoteric Buddhism.

The exhibition is a wonderful way to see how Buddhism took root in various parts of Asia with different natural environments and different historical and cultural contexts, and how faith was expressed in according to the aesthetic tastes of each region.

Lacquered Offering Vessel with Inlaid Glass 19th century H. 92.0 cm, D. 46.0 cm (bottom) Myanmar jng 1420

the hot and humid weather, Buddhist art works that have been handed down in this part of the world produce architecture and sculpture rather than paintings. The exhibition features sculptures, paintings and craft works from Vietnam, Cambodia, Thailand, Myanmar, and Indonesia.

Standing out among the diverse works are the fancy lacquered ritual vessels, sutras, and sutra box.

Part 3 introduces the Buddhist art of Central Asia. Playing a pivotal role in EastWest cultural exchange via the Silk Road, this region had a unique culture. With an extremely dry climate, Central Asia and the oasis region is marked by the presence of Buddhist cave temples, or grottoes, built with the wisdom of the desert people.

Paintings of the murals in the caves at Bezeklik, a clay Buddha and other works can be seen in the exhibition.

Part 4 is focused on the Buddhist art of Tibet, featuring thangka paintings with their detailed depiction and brilliant colors as well as all sorts of implements used in Buddhist ceremonies. Thangka, in the form of hanging scrolls, is a representa­ tive art of Tibet. The exhibition features diverse types of thangka including tshong shing, depicting myriad Buddhist deities in shapes resembling leafy trees, and man-

Akshobya Vajra Guhyasamaja Mandala Late 14th century L. 91.4 cm, W. 83.2 cm Tibet koo 5264

PUBLICATION

This is the catalogue accompanying the special exhibition of the same title at the Gwangju National Museum. Divided into four parts, it presents explanations and details that may have been initially overlooked as well as detailed photos of the relic. The book also shows the major Buddhist art works from each region, such as sculptures and paintings from India, metal and other craft works from Southeast Asia, relics excavated from the grottoes of Central Asia as well as thangka paintings from Tibet.

Title Buddhist Art in Asia: India, Southeast Asia, Central Asia and Tibet ISBN 978-89-98234-22-5 Pages 168 Size 26.0 Ă— 19.2 cm Language Korean Price KRW 18,000 (approx. $16)

32

rnm exhibition. 2

APRIL 16 – JUNE 21, 2015 CHEONGJU NATIONAL MUSEUM

KING SEJONG THE GREAT IN CHEONGJU by the editorial team

Hunminjeongeum Haerye Joseon (republication in 1946) 30.7 × 21.5 cm Cheongju National Museum

nmk 2015 summer | from the gallery

T

he Cheongju National Museum has organized a special exhibition that takes us back in time to revisit King Sejong the Great’s two journeys to Chojeong in 1444, 26th year of his reign.

King Sejong, the fourth monarch of the Joseon Dynasty, 1392– 1897 was a sage king who was ahead of his times with regard to his creative spirit and to communicate with the people. The royal seal of King Sejong displayed near the entrance of the exhibition is a symbol of the king and evidence of his visit to Cheongju. The king’s seal was produced after his death for ceremonial purposes.

The inscription carved on the seal is a latter day evaluation of King Sejong: “The king was exceptionally learned, well versed in the martial arts, wise and filial, with a benevolent and virtuous nature.”

The special exhibition focuses on relics representing the major achievements of King Sejong. Aware that the laws of nature had a great influence on the lives of the people, the king invented a sundial and rain gauge that would be useful in farming. The sundial, named Angbuilgu, has horizontal and vertical lines representing the hours of the day and the seasonal divisions of the year respectively and hence showed the changes in time and season. The rain gauge, one of which was set up in every region, is the relic that definitively shows the king’s desire to help the people by wide management of nature. Moreover, the current boundaries of Korea were established around this time. Related relics are a musket called Samchongtong and a painting titled Yayeonsajundo, depicting a rite held after General Kim Jongseo established Joseon military forts in Hamgyeong-do.

King Sejong’s greatest achievement was none other than the creation of the Korean script, Hangeul. Joseon was a Confucian society that placed great importance on education of the people on educating and enlightening the people according to ethical standards at the time. As Hangeul was designed to be easy for anybody to learn, its creation enabled many people to read, write and communicate with each other. The Confucian classics and Buddhist sutras were translated from literary Chinese into Hangeul, and literature written in Hangeul from the beginning started to appear. The exhibition features various books written in Hangeul including Hunminjeongeum Haerye, Sutra of Filial Piety, and Illustrated Guide to the Three Bonds.

Angbuilgu (Hemispherical Sundial) Korean Empire, 1899 D. 24.3 cm National Palace Museum of Korea Treasure No. 845

33

In 1444, the 26th year of his reign, King Sejong left the capital twice to visit Chojeong in Cheongju. He stayed there for a total of 120 days. Chojeong was then called Chosu, which is the name of the natural spring water there known for its peppery taste and healing effects. According to the Annals of King Sejong the trip from Hanyang to Chosu took five days, passing through Gwangju, Yangji, Juksan, and Jincheon. Though rest was the primary purpose of the trip, made after the creation of Hangeul, during his time in Cheongju the king was able to concentrate on policies designed to improve the lives of the people. He took an interest in education in the area and bestowed a collection of books on the local Confucian school including Confucian classics, history and poetry. The king also completed a new taxation system that would benefit the common people and laid the foundations for the golden age of culture in the Joseon period. In addition to cultural heritage from the age of King Sejong, the special exhibition includes works that put a modern interpretation on the achievements of the king. The exhibition gives insight into the far-reaching influence of the king’s dream of creating a nation where life was good for everyone.

PUBLICATION

This book covers the diverse achievements of King Sejong in the fields of society, culture, science and the arts and also introduces books written in Hangeul after creation of the new Korean script, records of the king’s trip to Cheongju in 1444, and modern art works inspired by the spirit of King Sejong. It includes a wealth of material not included in the exhibition that gives insight into the connection between the king who ushered in a golden age of culture and the Cheongju region.

Title King Sejong the Great in Cheongju ISBN 978-89-966769-6-6 Pages 94 Size 255 × 188 cm Language Korean Published April 15, 2015 Price Not for sale

32

rnm exhibition. 2

APRIL 16 – JUNE 21, 2015 CHEONGJU NATIONAL MUSEUM

KING SEJONG THE GREAT IN CHEONGJU by the editorial team

Hunminjeongeum Haerye Joseon (republication in 1946) 30.7 × 21.5 cm Cheongju National Museum

nmk 2015 summer | from the gallery

T

he Cheongju National Museum has organized a special exhibition that takes us back in time to revisit King Sejong the Great’s two journeys to Chojeong in 1444, 26th year of his reign.

King Sejong, the fourth monarch of the Joseon Dynasty, 1392– 1897 was a sage king who was ahead of his times with regard to his creative spirit and to communicate with the people. The royal seal of King Sejong displayed near the entrance of the exhibition is a symbol of the king and evidence of his visit to Cheongju. The king’s seal was produced after his death for ceremonial purposes.

The inscription carved on the seal is a latter day evaluation of King Sejong: “The king was exceptionally learned, well versed in the martial arts, wise and filial, with a benevolent and virtuous nature.”

The special exhibition focuses on relics representing the major achievements of King Sejong. Aware that the laws of nature had a great influence on the lives of the people, the king invented a sundial and rain gauge that would be useful in farming. The sundial, named Angbuilgu, has horizontal and vertical lines representing the hours of the day and the seasonal divisions of the year respectively and hence showed the changes in time and season. The rain gauge, one of which was set up in every region, is the relic that definitively shows the king’s desire to help the people by wide management of nature. Moreover, the current boundaries of Korea were established around this time. Related relics are a musket called Samchongtong and a painting titled Yayeonsajundo, depicting a rite held after General Kim Jongseo established Joseon military forts in Hamgyeong-do.

King Sejong’s greatest achievement was none other than the creation of the Korean script, Hangeul. Joseon was a Confucian society that placed great importance on education of the people on educating and enlightening the people according to ethical standards at the time. As Hangeul was designed to be easy for anybody to learn, its creation enabled many people to read, write and communicate with each other. The Confucian classics and Buddhist sutras were translated from literary Chinese into Hangeul, and literature written in Hangeul from the beginning started to appear. The exhibition features various books written in Hangeul including Hunminjeongeum Haerye, Sutra of Filial Piety, and Illustrated Guide to the Three Bonds.

Angbuilgu (Hemispherical Sundial) Korean Empire, 1899 D. 24.3 cm National Palace Museum of Korea Treasure No. 845

33

In 1444, the 26th year of his reign, King Sejong left the capital twice to visit Chojeong in Cheongju. He stayed there for a total of 120 days. Chojeong was then called Chosu, which is the name of the natural spring water there known for its peppery taste and healing effects. According to the Annals of King Sejong the trip from Hanyang to Chosu took five days, passing through Gwangju, Yangji, Juksan, and Jincheon. Though rest was the primary purpose of the trip, made after the creation of Hangeul, during his time in Cheongju the king was able to concentrate on policies designed to improve the lives of the people. He took an interest in education in the area and bestowed a collection of books on the local Confucian school including Confucian classics, history and poetry. The king also completed a new taxation system that would benefit the common people and laid the foundations for the golden age of culture in the Joseon period. In addition to cultural heritage from the age of King Sejong, the special exhibition includes works that put a modern interpretation on the achievements of the king. The exhibition gives insight into the far-reaching influence of the king’s dream of creating a nation where life was good for everyone.

PUBLICATION

This book covers the diverse achievements of King Sejong in the fields of society, culture, science and the arts and also introduces books written in Hangeul after creation of the new Korean script, records of the king’s trip to Cheongju in 1444, and modern art works inspired by the spirit of King Sejong. It includes a wealth of material not included in the exhibition that gives insight into the connection between the king who ushered in a golden age of culture and the Cheongju region.

Title King Sejong the Great in Cheongju ISBN 978-89-966769-6-6 Pages 94 Size 255 × 188 cm Language Korean Published April 15, 2015 Price Not for sale

34

behind the exhibit

nmk 2015 summer | the latest

35

X-ray photography comes up white and shading varies according to differences in thickness and density.

Conservation of Metal Relics by the editorial team

The surface is treated carefully to preserve the original gilding.

CHARACTERISTICS OF METAL Metal crafts are generally categorized by material such as gold, silver, iron and bronze but as pure metal is soft and malleable it is often strengthened with other metals and used in alloy form.

Depending on the elements they are mixed with, metals can be transformed into diverse composite materials. Gold is mixed with silver to make it stronger and bronze is plated with gold for ornamental effect.

Metals extracted from minerals are unstable and rather than existing independently they have a strong tendency to react to the surrounding environment to return to a stable compound. When metal fuses with surrounding moisture or oxygen corrosion begins and it loses its original appearance. The level of corrosion of metal relics differs greatly according to material and the environment in which it was handed down. As gold hardly corrodes at all, even after the passage of one thousand years the Silla gold crowns, apart from some changes in shape due to external force, show very little change in material. On the other hand, iron and bronze are tarnished when buried in the ground. Relics of the same shape and type excavated from the same site show a difference in level of corrosion according to material and burial environment. In some cases, differences can be observed even in the one object.

While the removal of foreign matter and repair of damaged parts are naturally of great importance in the conservation of metal relics, the ultimate goal is to restore a work damaged by corrosion to its original state and prevent any further damage.

SCIENTIFIC ANALYSIS OF METAL RELICS Analysis of metal relics is carried with the use of non-destructive X-ray fluorescence spectrometry (XRF). This is a method of analysis used to study the composition of materials, and along with infrared photography and ultraviolet photography, it is the major form of non-destructive analysis using light. When an object is exposed to a small amount of X-rays electrons are ejected from

the atoms and then return to their original place. This results in the emission of energy, which is called X-ray fluorescence. As each element has a different X-ray fluorescence spectrum, XRF analysis enables confirmation of the elemental composition of materials.

Some major finds have been made thanks to XRF analysis.

For example, some items excavated from Silla tombs that were known to be made of gold were discovered to be silver plated with gold, while some Goryeo bronze mirrors were found to have been coated in a shiny material. The most appropriate method of conservation for any metal relic is decided after studying production techniques and materials to confirm composition of alloys, and whether it has been gilded or not. If analysis shows, for example, that an object is composed of bronze, gold and mercury, this indicates a gilt-bronze artifact and hence the layer of tarnish layer can be removed to reveal the gilding.

The next step is to control corrosion with chemical treatment.

In the case of an iron object, when buried in the ground countless negative ions penetrate the inside and to remove the chlorine, the factor behind corrosion, harmful matter is removed with desalination chemicals. Relics made with bronze or copper alloys are treated with benzotriazole. This protects the surface by forming a corrosion prevention layer of imperceptible thickness. When treatment is completed the chemicals are neutralized to stop them from affecting the relic in any way.

Finally, any damaged parts are repaired and restored using a suitable adhesive. The color of the restored part is carefully matched, photographs taken and a report written up. In the case of additional damage at a later date, the relic is restored based on the report. The report also provides information for removal of restored parts or coating.

CONSERVATION PROCESS Before conservation work begins, the relic in question is measured and weighed, its current state is assessed, and then photographed inside and outside using X-ray and conventional photography.

With X-ray photography any metal on the inside of an object comes up white and shading varies according to differences in thickness and density, enabling confirmation of the original form of an object hidden beneath any tarnish. It is important to choose the method of conservation suited to the condition of an object, for in cases where the body is mostly corroded while a thick layer of tarnish remains on the outside improper treatment may result in the body falling away like a sand castle.

When the condition of the relic has been evaluated, any foreign matter on the surface is removed. Any harmful matter promoting corrosion is removed, but if the tarnish provides a stable coating for the object and rather prevents further corrosion then it is left intact.

CONTINUED MANAGEMENT OF THE ENVIRONMENT The NMK has a collection of some 55,000 metal items, including relics that have been restored to stable condition and others that are in need of conservation work. The metal team deals with some 400–500 items per year. Aside from the time they are receiving treatment, all relics are packed in airtight conditions with deoxidizer and humidifying agents, in this way cutting them off from the sources of corrosion. Because oxygen and water are the elements with which metal most mixes easily, temperature and humidity conditions must be managed carefully after the relics are treated with chemicals or given a protective coating. The best conditions for metal works are a temperature of around 20°C and humidity of about 45 percent. In spite of all efforts, however, corrosion sets in again after two or three years. Unlike ceramics, stone works, and paper items, which are not so sensitive to changes in the environment metal items require continued monitoring even after treatment.

34

behind the exhibit

nmk 2015 summer | the latest

35

X-ray photography comes up white and shading varies according to differences in thickness and density.

Conservation of Metal Relics by the editorial team

The surface is treated carefully to preserve the original gilding.

CHARACTERISTICS OF METAL Metal crafts are generally categorized by material such as gold, silver, iron and bronze but as pure metal is soft and malleable it is often strengthened with other metals and used in alloy form.

Depending on the elements they are mixed with, metals can be transformed into diverse composite materials. Gold is mixed with silver to make it stronger and bronze is plated with gold for ornamental effect.

Metals extracted from minerals are unstable and rather than existing independently they have a strong tendency to react to the surrounding environment to return to a stable compound. When metal fuses with surrounding moisture or oxygen corrosion begins and it loses its original appearance. The level of corrosion of metal relics differs greatly according to material and the environment in which it was handed down. As gold hardly corrodes at all, even after the passage of one thousand years the Silla gold crowns, apart from some changes in shape due to external force, show very little change in material. On the other hand, iron and bronze are tarnished when buried in the ground. Relics of the same shape and type excavated from the same site show a difference in level of corrosion according to material and burial environment. In some cases, differences can be observed even in the one object.

While the removal of foreign matter and repair of damaged parts are naturally of great importance in the conservation of metal relics, the ultimate goal is to restore a work damaged by corrosion to its original state and prevent any further damage.

SCIENTIFIC ANALYSIS OF METAL RELICS Analysis of metal relics is carried with the use of non-destructive X-ray fluorescence spectrometry (XRF). This is a method of analysis used to study the composition of materials, and along with infrared photography and ultraviolet photography, it is the major form of non-destructive analysis using light. When an object is exposed to a small amount of X-rays electrons are ejected from

the atoms and then return to their original place. This results in the emission of energy, which is called X-ray fluorescence. As each element has a different X-ray fluorescence spectrum, XRF analysis enables confirmation of the elemental composition of materials.

Some major finds have been made thanks to XRF analysis.

For example, some items excavated from Silla tombs that were known to be made of gold were discovered to be silver plated with gold, while some Goryeo bronze mirrors were found to have been coated in a shiny material. The most appropriate method of conservation for any metal relic is decided after studying production techniques and materials to confirm composition of alloys, and whether it has been gilded or not. If analysis shows, for example, that an object is composed of bronze, gold and mercury, this indicates a gilt-bronze artifact and hence the layer of tarnish layer can be removed to reveal the gilding.

The next step is to control corrosion with chemical treatment.

In the case of an iron object, when buried in the ground countless negative ions penetrate the inside and to remove the chlorine, the factor behind corrosion, harmful matter is removed with desalination chemicals. Relics made with bronze or copper alloys are treated with benzotriazole. This protects the surface by forming a corrosion prevention layer of imperceptible thickness. When treatment is completed the chemicals are neutralized to stop them from affecting the relic in any way.

Finally, any damaged parts are repaired and restored using a suitable adhesive. The color of the restored part is carefully matched, photographs taken and a report written up. In the case of additional damage at a later date, the relic is restored based on the report. The report also provides information for removal of restored parts or coating.

CONSERVATION PROCESS Before conservation work begins, the relic in question is measured and weighed, its current state is assessed, and then photographed inside and outside using X-ray and conventional photography.

With X-ray photography any metal on the inside of an object comes up white and shading varies according to differences in thickness and density, enabling confirmation of the original form of an object hidden beneath any tarnish. It is important to choose the method of conservation suited to the condition of an object, for in cases where the body is mostly corroded while a thick layer of tarnish remains on the outside improper treatment may result in the body falling away like a sand castle.

When the condition of the relic has been evaluated, any foreign matter on the surface is removed. Any harmful matter promoting corrosion is removed, but if the tarnish provides a stable coating for the object and rather prevents further corrosion then it is left intact.

CONTINUED MANAGEMENT OF THE ENVIRONMENT The NMK has a collection of some 55,000 metal items, including relics that have been restored to stable condition and others that are in need of conservation work. The metal team deals with some 400–500 items per year. Aside from the time they are receiving treatment, all relics are packed in airtight conditions with deoxidizer and humidifying agents, in this way cutting them off from the sources of corrosion. Because oxygen and water are the elements with which metal most mixes easily, temperature and humidity conditions must be managed carefully after the relics are treated with chemicals or given a protective coating. The best conditions for metal works are a temperature of around 20°C and humidity of about 45 percent. In spite of all efforts, however, corrosion sets in again after two or three years. Unlike ceramics, stone works, and paper items, which are not so sensitive to changes in the environment metal items require continued monitoring even after treatment.

36

education

nmk 2015 summer | the latest

37

A team looking at an earthenware jar in the Permanent Exhibition after the activities in the lecture room

Students and the museum staff measuring the size of replica, Celadon Jar with Inlaid Peony Design (National Treasure No. 98)

Youth Program “Explore the Museum” by the editorial team

“Explore the Museum” is a youth program where students can learn the basic skills used in cultural heritage research.

Using replicas of major works in the permanent exhibition that are found in school textbooks, students learn about the research process from excavation and survey to writing records and reports.

The program is more specialized than its predecessor, which was focused on assignments using worksheets, and is hence targeted to junior and senior highschool students. It is held every Tuesday (14:30–17:00) and Thursday (9:30–12:00) during the school semester.

Most of the cultural artifacts that keep appearing in elementary and secondary school textbooks have been designated National Treasures and are preserved at the National Museum of Korea. The museum’s education division has selected 10 of these works which are representative of major periods in Korea’s history. The students, who generally come in class groups or as part of club activities, are divided into teams of five or six and each team is given one item to study, for example a stone hand axe, Liaoning bronze dagger, or horse requisition badge (mapae). With a teacher from the NMK’s

education division, each team studies their given artifact, discusses it, writes notes on it and finally makes a presentation on their findings. In this way, the students study one artifact from all angles. Each session is two and a half hours long, 70 minutes of which is devoted to observation, drawing and writing up worksheet, based on the museum’s standard heritage management system, detailing the specifications of the artifact. Drawing calls on students to inspect the item very carefully in order to survey and draw it, and hence leaves the strongest impression on them.

Actually touching and surveying museum exhibits, albeit replicas, the students gain information such as material, size, function and period. In the process they are given explanations of the historical background for each piece and look at the real items in the museum’s permanent exhibition. The program has generated positive response as the students, rather than just looking at objects in an exhibition find great satisfaction in touching works with their own hands, thus gaining experience of a specialized field and greater interest in history.

“Explore the Museum” will continue in the second semester this year. The program not only offers creative activity at a cultural facility outside the classroom it

is also a good way to prepare for the Free Semester Program. To be operated from next year for junior high school students, the Free Semester Program is the first educational program of its kind in Korea.

While the ordinary school semester is based on grades gained in the mid-term and end-of-term exams, the Free Semester Program frees students from the pressure of exams for one semester to pursue study in different areas. Encouraged to dream about and map out their own successful futures, students explore different professional fields and take part in club activities, or art, sport and other activities of their own choice.

As the Free Semester Program encourages the use of cultural facilities, the NMK’s education division is developing various programs in response.

For example, a teacher’s kit has been developed to enable teachers and students to explore one cultural artifact in detail with minimal involvement by the museum staff. The kit contains information on the artifact in question, a list of related relics, and study activities for the students. With this kit, any teacher can lead a group of around 30 people on a visit to the museum for education purposes.

The education division is currently developing a kit on the theme of “gold crowns” which should be available for

teachers’ use in the second semester this year on a trial basis. Further kits based on some of the major items in the NMK collection have been planned, with the kit on Buddhist images from the Three Kingdoms scheduled to be available in the latter half of this year and another on ceramics in the first half of next year. The second semester “Explore the Museum” program will therefore include a gold crown in addition to the previously selected works. To make the class fun and stimulate the students’ interest, the gold crown will be examined on the basis of five keywords (headgear, ornaments, authority, burial goods, and materials).

The education division will continue to seek ways to help teachers further expand on their role and knowledge as a link between school education and the museum as well as overcome their current status simply as school group leaders to the museum.

36

education

nmk 2015 summer | the latest

37

A team looking at an earthenware jar in the Permanent Exhibition after the activities in the lecture room

Students and the museum staff measuring the size of replica, Celadon Jar with Inlaid Peony Design (National Treasure No. 98)

Youth Program “Explore the Museum” by the editorial team

“Explore the Museum” is a youth program where students can learn the basic skills used in cultural heritage research.

Using replicas of major works in the permanent exhibition that are found in school textbooks, students learn about the research process from excavation and survey to writing records and reports.

The program is more specialized than its predecessor, which was focused on assignments using worksheets, and is hence targeted to junior and senior highschool students. It is held every Tuesday (14:30–17:00) and Thursday (9:30–12:00) during the school semester.

Most of the cultural artifacts that keep appearing in elementary and secondary school textbooks have been designated National Treasures and are preserved at the National Museum of Korea. The museum’s education division has selected 10 of these works which are representative of major periods in Korea’s history. The students, who generally come in class groups or as part of club activities, are divided into teams of five or six and each team is given one item to study, for example a stone hand axe, Liaoning bronze dagger, or horse requisition badge (mapae). With a teacher from the NMK’s

education division, each team studies their given artifact, discusses it, writes notes on it and finally makes a presentation on their findings. In this way, the students study one artifact from all angles. Each session is two and a half hours long, 70 minutes of which is devoted to observation, drawing and writing up worksheet, based on the museum’s standard heritage management system, detailing the specifications of the artifact. Drawing calls on students to inspect the item very carefully in order to survey and draw it, and hence leaves the strongest impression on them.

Actually touching and surveying museum exhibits, albeit replicas, the students gain information such as material, size, function and period. In the process they are given explanations of the historical background for each piece and look at the real items in the museum’s permanent exhibition. The program has generated positive response as the students, rather than just looking at objects in an exhibition find great satisfaction in touching works with their own hands, thus gaining experience of a specialized field and greater interest in history.

“Explore the Museum” will continue in the second semester this year. The program not only offers creative activity at a cultural facility outside the classroom it

is also a good way to prepare for the Free Semester Program. To be operated from next year for junior high school students, the Free Semester Program is the first educational program of its kind in Korea.

While the ordinary school semester is based on grades gained in the mid-term and end-of-term exams, the Free Semester Program frees students from the pressure of exams for one semester to pursue study in different areas. Encouraged to dream about and map out their own successful futures, students explore different professional fields and take part in club activities, or art, sport and other activities of their own choice.

As the Free Semester Program encourages the use of cultural facilities, the NMK’s education division is developing various programs in response.

For example, a teacher’s kit has been developed to enable teachers and students to explore one cultural artifact in detail with minimal involvement by the museum staff. The kit contains information on the artifact in question, a list of related relics, and study activities for the students. With this kit, any teacher can lead a group of around 30 people on a visit to the museum for education purposes.

The education division is currently developing a kit on the theme of “gold crowns” which should be available for

teachers’ use in the second semester this year on a trial basis. Further kits based on some of the major items in the NMK collection have been planned, with the kit on Buddhist images from the Three Kingdoms scheduled to be available in the latter half of this year and another on ceramics in the first half of next year. The second semester “Explore the Museum” program will therefore include a gold crown in addition to the previously selected works. To make the class fun and stimulate the students’ interest, the gold crown will be examined on the basis of five keywords (headgear, ornaments, authority, burial goods, and materials).

The education division will continue to seek ways to help teachers further expand on their role and knowledge as a link between school education and the museum as well as overcome their current status simply as school group leaders to the museum.

38

news

nmk 2015 summer | the latest

ACTIVITY

39

EXHIBITION NEW SCIENTIFIC REVELATIONS ABOUT THE GOLD CROWN FROM SEOBONGCHONG TOMB

2015 FEAST OF CULTURE AT THE MUSEUM

A colorful performing arts festival titled “Feast of Culture at the Museum” is underway April 25 through October 17 this year at the museum’s outdoor Open Plaza.

A wide range of performances by various teams have been planned, starting with the Ministry of Defense Traditional Band’s “Ceremonial Rites” on April 25 and “Soldiers of Museum Land,” a spectacular percussion concert and puppet parade to mark Children’s Day in May. Other performances include “Ballet Story,” a gala performance by the Korean National Ballet; “Longing becomes a River” by the fusion gugak (Korean Traditional music) ensemble Sinawi to mark Memorial Day in June; and “Voice of Solists” by Korea’s first a cappella group the Solists.

A relay of concerts is planned August 6–8 for the summer holidays. Large-scale orchestral and opera performances such as “KNUA Per-

cussion Ensemble” and “Opera Gala Concert” will fill the outdoor stage. To mark the 70th anniversary of liberation and the 10th anniversary of the NMK’s relocation and reopening, a special concert by the Eurasian Philharmonic Orchestra and the Seongnam Youth Orchestra under the baton of Gum Nanse. This will be followed in September and October by fascinating jazz, rock and gypsy music concerts “Trailblazer of Modern Rock Yi Sung Yol” and “New Folk Duo Kim Sawol x Kim Haewon.”

With a total of 29 teams taking part, the performing arts festival has everything from easylistening concerts that be enjoyed by everyone to classical orchestral concerts of the highest level. The wide-ranging program caters for people of all ages including family groups and is sure to leave a lasting impression on all who attend.

Date | April 21–June 21, 2015 Venue | Thematic Exhibition Gallery

INTERNATIONAL SYMPOSIUM HELD TO MARK 10TH ANNIVERSARY OF THE NMK AT YONGSAN

An international symposium was held May 15 to mark the 10th anniversary of the relocation of the NMK to Yongsan and its reopening.

Under the theme of “The Future of Museums and Participation” the symposium explored significance of the relocation and reopening of the NMK at Yongsan and the challenges ahead for the museum. Case studies of museum construction in other countries were also presented including the new culture and art center in Berlin, Germany; construction of the Bamiyan Cultural Center on the site of the Bamiyan Buddhist caves in Afghanistan, which were destroyed in 2001; and the new wing of the Kyoto National Museum with its emphasis on visitor-friendly design.

Trends in the application fused with information technology were also examined through

the technologies developed by KAIST in Korea to enhance participation by museum visitors and the Google Art Project, a virtual museum operated by Google in the United States. This was followed by discussion of future education programs at the NMK to encourage active participation.

Featured speakers at the symposium include Yi Kunmoo, Former Director-general of the NMK; Hermann Parzinger, President of the Prussiuan Cultural Foundation in Germany; Sasaki Jōhei, Director of the Kyoto National Museum; Paolo Fontani, Director, UNESCO Afghanistan Office; Wohn Kwangyun, Professor at the Graduate School of Culture Technology, KAIST; Amit Sood, Director of the Google Cultural Institute; and Lee Sumi, Head of Education Division, NMK.

BUDDHIST HANGING SCROLL AT CHEONGNYONGSA TEMPLE Date | June 2–November 29, 2015 Venue | Buddhist Painting Gallery

The Buddhist Hanging Scroll from Cheongnyongsa Temple (Treasure No. 1257) is a precious example of the large hanging paintings called gwebul that were hung outdoors for important Buddhist ceremonies in the Joseon Dynasty during the 17th century. This exhibition is part of the series of exhibition of Buddhist hanging scrolls held annually from 2006.

Cheongnyongsa in Anseong was a temple used by the royal family and the inscription on the hanging scroll shows that it was produced to pray for the welfare of the king and queen, the dowager queen, and the crown prince, and that the patron Kim Hongseok donated

incense holders to the temple for the production of the painting. In the painting, among the crowd listening to the sermon is a man sitting in front of the Buddha, with his back to the viewer, wearing Buddhist robes and with his head shaved in the manner of a monk.

This is Shariputra, the wisest of the Buddha’s disciples. Shariputra is depicted as one of the crowd listening to the Buddha’s sermon, iconography that shows the influence of the Ming Dynasty of China. Such iconography is rarely found in Korean Buddhist hanging scrolls, appearing in only three works including the one from Cheongnyongsa Temple.

A theme exhibition that investigates the results of new scientific analysis of the gold relics found inside Seobongchong Tomb in 1926 got underway. In addition to shedding light on gold collection and refining processes in the Three Kingdoms period as well as the production of gold sheets, gold wire and gold nails, the exhibition could give visitors the opportunity to see such artifacts as the Gold Crown with Phoenix Ornament (Treasure No. 339), gold belt ornaments, and thick gold earrings. Guided tours were provided daily at 11 a.m. and 2 p.m.

The scientific methods used to examine the gold relics are X-rays and XRF. X-ray analysis is especially useful for examining the production techniques used to make the gold earrings, which cannot be confirmed with the naked eye. On the other hand, XRF analysis measures the purity of the gold, enabling the right gold to be selected in latter day restoration work. The results obtained through such non-destructive methods of analysis, as highlighted in the exhibition, will help to estimate what the Gold Crown from Seobongchong Tomb looked like when it was made and hence suggest new methods for future restoration.

38

news

nmk 2015 summer | the latest

ACTIVITY

39

EXHIBITION NEW SCIENTIFIC REVELATIONS ABOUT THE GOLD CROWN FROM SEOBONGCHONG TOMB

2015 FEAST OF CULTURE AT THE MUSEUM

A colorful performing arts festival titled “Feast of Culture at the Museum” is underway April 25 through October 17 this year at the museum’s outdoor Open Plaza.

A wide range of performances by various teams have been planned, starting with the Ministry of Defense Traditional Band’s “Ceremonial Rites” on April 25 and “Soldiers of Museum Land,” a spectacular percussion concert and puppet parade to mark Children’s Day in May. Other performances include “Ballet Story,” a gala performance by the Korean National Ballet; “Longing becomes a River” by the fusion gugak (Korean Traditional music) ensemble Sinawi to mark Memorial Day in June; and “Voice of Solists” by Korea’s first a cappella group the Solists.

A relay of concerts is planned August 6–8 for the summer holidays. Large-scale orchestral and opera performances such as “KNUA Per-

cussion Ensemble” and “Opera Gala Concert” will fill the outdoor stage. To mark the 70th anniversary of liberation and the 10th anniversary of the NMK’s relocation and reopening, a special concert by the Eurasian Philharmonic Orchestra and the Seongnam Youth Orchestra under the baton of Gum Nanse. This will be followed in September and October by fascinating jazz, rock and gypsy music concerts “Trailblazer of Modern Rock Yi Sung Yol” and “New Folk Duo Kim Sawol x Kim Haewon.”

With a total of 29 teams taking part, the performing arts festival has everything from easylistening concerts that be enjoyed by everyone to classical orchestral concerts of the highest level. The wide-ranging program caters for people of all ages including family groups and is sure to leave a lasting impression on all who attend.

Date | April 21–June 21, 2015 Venue | Thematic Exhibition Gallery

INTERNATIONAL SYMPOSIUM HELD TO MARK 10TH ANNIVERSARY OF THE NMK AT YONGSAN

An international symposium was held May 15 to mark the 10th anniversary of the relocation of the NMK to Yongsan and its reopening.

Under the theme of “The Future of Museums and Participation” the symposium explored significance of the relocation and reopening of the NMK at Yongsan and the challenges ahead for the museum. Case studies of museum construction in other countries were also presented including the new culture and art center in Berlin, Germany; construction of the Bamiyan Cultural Center on the site of the Bamiyan Buddhist caves in Afghanistan, which were destroyed in 2001; and the new wing of the Kyoto National Museum with its emphasis on visitor-friendly design.

Trends in the application fused with information technology were also examined through

the technologies developed by KAIST in Korea to enhance participation by museum visitors and the Google Art Project, a virtual museum operated by Google in the United States. This was followed by discussion of future education programs at the NMK to encourage active participation.

Featured speakers at the symposium include Yi Kunmoo, Former Director-general of the NMK; Hermann Parzinger, President of the Prussiuan Cultural Foundation in Germany; Sasaki Jōhei, Director of the Kyoto National Museum; Paolo Fontani, Director, UNESCO Afghanistan Office; Wohn Kwangyun, Professor at the Graduate School of Culture Technology, KAIST; Amit Sood, Director of the Google Cultural Institute; and Lee Sumi, Head of Education Division, NMK.

BUDDHIST HANGING SCROLL AT CHEONGNYONGSA TEMPLE Date | June 2–November 29, 2015 Venue | Buddhist Painting Gallery

The Buddhist Hanging Scroll from Cheongnyongsa Temple (Treasure No. 1257) is a precious example of the large hanging paintings called gwebul that were hung outdoors for important Buddhist ceremonies in the Joseon Dynasty during the 17th century. This exhibition is part of the series of exhibition of Buddhist hanging scrolls held annually from 2006.

Cheongnyongsa in Anseong was a temple used by the royal family and the inscription on the hanging scroll shows that it was produced to pray for the welfare of the king and queen, the dowager queen, and the crown prince, and that the patron Kim Hongseok donated

incense holders to the temple for the production of the painting. In the painting, among the crowd listening to the sermon is a man sitting in front of the Buddha, with his back to the viewer, wearing Buddhist robes and with his head shaved in the manner of a monk.

This is Shariputra, the wisest of the Buddha’s disciples. Shariputra is depicted as one of the crowd listening to the Buddha’s sermon, iconography that shows the influence of the Ming Dynasty of China. Such iconography is rarely found in Korean Buddhist hanging scrolls, appearing in only three works including the one from Cheongnyongsa Temple.

A theme exhibition that investigates the results of new scientific analysis of the gold relics found inside Seobongchong Tomb in 1926 got underway. In addition to shedding light on gold collection and refining processes in the Three Kingdoms period as well as the production of gold sheets, gold wire and gold nails, the exhibition could give visitors the opportunity to see such artifacts as the Gold Crown with Phoenix Ornament (Treasure No. 339), gold belt ornaments, and thick gold earrings. Guided tours were provided daily at 11 a.m. and 2 p.m.

The scientific methods used to examine the gold relics are X-rays and XRF. X-ray analysis is especially useful for examining the production techniques used to make the gold earrings, which cannot be confirmed with the naked eye. On the other hand, XRF analysis measures the purity of the gold, enabling the right gold to be selected in latter day restoration work. The results obtained through such non-destructive methods of analysis, as highlighted in the exhibition, will help to estimate what the Gold Crown from Seobongchong Tomb looked like when it was made and hence suggest new methods for future restoration.

40

new & hidden space

nmk 2015 summer | the latest

Renewal Room: China in the Asian Art British Museum’s collection of Chinese bronzes. This is first such case of a long-term loan from a European museum for the NMK’s permanent exhibition and is the result of several years of effort for exhibitions correspondence. It has paved the way for expanding the range of exhibits for visitors to see. Lastly, new acquisitions of the Chinese art works that were previously shown as part of theme exhibitions or that have not yet been revealed to the public are now on display. The Buddhist steles and animal tomb guardian that can be viewed on all sides as well as six figure paintings from the Ming and Qing Dynasties are just some of the exhibits that represent the changes in the China room.

1

Renewal of the exhibition in the China room of the Asia Art section on the third floor has been completed. Under the renewal project outdated facilities have been replaced and the exhibition reorganized according to themes in an attempt to make Chinese art more accessible for the public. Of the 85 exhibits 51 were replaced, providing visitors to the NMK with new things to see.

The renewal process began at the end of last year with the placement at the entrance of the China room a tomb door from the Northern Qi Dynasty. Acquired during the Japanese occupation period, the stone door has a solemn beauty and is highly effective in creating a theatrical entrance to the exhibition hall.

The recently completed renewal work involved removal of temporary walls and freestanding cabinets, installed for a previous exhibition, to create a more open space and expand the circulation path of visitors. The display cabinets were newly papered inside to fit the new color scheme. The new darker color was chosen to create a tranquil mood that helps viewers to concentrate better. In addition, the fiber optic lights in the display cases were all replaced with LED lights to allow the exhibits to be seen in their true colors.

In terms of exhibition composition, three major changes have been made. First, the exhibits have been arranged according to theme to spark visitors’ interest. The major themes of religion and beliefs, crafts, and paintings are further divided into sub-themes with the focus placed on showing diverse aspects of Chinese culture. Second, to supplement the exhibition in the China room, the NMK has loaned on a long-term basis 11 works from the

1 The 11 Chinese bronzes loaned from the British Museum are diverse in type and were produced in different periods. They include vessels for food such as ding, a cauldron used to cook meat, and lian, a vessel for storing rice and other grains, as well as vessels for liquor such as wine cups (jue and gu), liquor pots (pou) and liquor ewers (hu).

2 Twelve zodiac animal deities from Tang Dynasty; dog, tiger and snake 3 Buddhist Stele in the part of Chinese religion and beliefs

2

3

40

new & hidden space

nmk 2015 summer | the latest

Renewal Room: China in the Asian Art British Museum’s collection of Chinese bronzes. This is first such case of a long-term loan from a European museum for the NMK’s permanent exhibition and is the result of several years of effort for exhibitions correspondence. It has paved the way for expanding the range of exhibits for visitors to see. Lastly, new acquisitions of the Chinese art works that were previously shown as part of theme exhibitions or that have not yet been revealed to the public are now on display. The Buddhist steles and animal tomb guardian that can be viewed on all sides as well as six figure paintings from the Ming and Qing Dynasties are just some of the exhibits that represent the changes in the China room.

1

Renewal of the exhibition in the China room of the Asia Art section on the third floor has been completed. Under the renewal project outdated facilities have been replaced and the exhibition reorganized according to themes in an attempt to make Chinese art more accessible for the public. Of the 85 exhibits 51 were replaced, providing visitors to the NMK with new things to see.

The renewal process began at the end of last year with the placement at the entrance of the China room a tomb door from the Northern Qi Dynasty. Acquired during the Japanese occupation period, the stone door has a solemn beauty and is highly effective in creating a theatrical entrance to the exhibition hall.

The recently completed renewal work involved removal of temporary walls and freestanding cabinets, installed for a previous exhibition, to create a more open space and expand the circulation path of visitors. The display cabinets were newly papered inside to fit the new color scheme. The new darker color was chosen to create a tranquil mood that helps viewers to concentrate better. In addition, the fiber optic lights in the display cases were all replaced with LED lights to allow the exhibits to be seen in their true colors.

In terms of exhibition composition, three major changes have been made. First, the exhibits have been arranged according to theme to spark visitors’ interest. The major themes of religion and beliefs, crafts, and paintings are further divided into sub-themes with the focus placed on showing diverse aspects of Chinese culture. Second, to supplement the exhibition in the China room, the NMK has loaned on a long-term basis 11 works from the

1 The 11 Chinese bronzes loaned from the British Museum are diverse in type and were produced in different periods. They include vessels for food such as ding, a cauldron used to cook meat, and lian, a vessel for storing rice and other grains, as well as vessels for liquor such as wine cups (jue and gu), liquor pots (pou) and liquor ewers (hu).

2 Twelve zodiac animal deities from Tang Dynasty; dog, tiger and snake 3 Buddhist Stele in the part of Chinese religion and beliefs

2

3

• curator’s talk Stone Guardian from the Tomb of King Muryeong • feature exhibition Polish Art: An Enduring Spirit

|

100BCE–700CE

Q UA R T E R LY M AG A Z I N E

MASTERPIECES OF EARLY BUDDHIST SCULPTURE,

september 25 – november 15, 2015 special exhibition gallery

SUMMER 2015

ISSN: 2005-1123

VOL .32

To mark the 10th anniversary of our relocation to the Yongsan site, the National Museum of Korea has organized the special exhibition Masterpieces of Early Buddhist Sculpture, 100BCE–700CE, featuring exhibition 220 works from twenty-five museums and institutions at home and abroad.

Buddhism and its images have been a powerful element in Asia, facilitating exchange between cultures. The exhibition casts new light on the history of Buddhist sculpture and their role in binding heterogeneous traditions together. The creation of the religion and the first anthropomorphic images of the Buddha are introduced in the first section of the exhibition through powerful statues made in the Gandhara and Mathura regions of India.

The second section covers the spread of Buddhism into China, which had a very different linguistic, religious, and philosophical background to that of India, and subsequent Sinicization of the religion. The third section sheds light on Buddhist statues from the Korean Peninsula and Japan. In the final section, the major pensive bodhisattva statues from India, China, Korea and Japan are presented to invite comparative contemplation. The exhibition will be a unique opportunity to appreciate the finest examples of Buddhist sculpture.

• rnm exhibition. 1 Buddhist Art in Asia: India, Southeast Asia, Central Asia and Tibet • rnm exhibition. 2 King Sejong the Great in Cheongju

published by the nmk summer 2015

National Museum of Korea

Rustic Beauty: the Essence of Life in Literati Painting

VOL.32

N AT I O N A L M U S E U M O F KO R E A

quarterly magazine • special feature